Hidden treasures discovered while digging through Frank Moore's huge archives.

Category: Miscellaneous (page 1 of 3)

LUVeR: Anti-Corporate, Anti-Capitalist Web Radio

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!

The LUVeR logo
LUVeR Home page in 2012
Artwork for Frank’s show “Frank’s Deep Roots Music”
Artwork for Frank’s show “Frank Spins Hot Wax”

Subject: I’m flattered!

From Frank to the e-salon, Saturday, March 28, 2009

Subject: I’m flattered!

Corey called the Berkeley Daily Planet about the fact that they had not listed the Temescal performance in this week’s issue. Under March 21st, there was no heading for Theater, as if there were no Theater events that day. Last month, they had listed us for two straight weeks, because the calendar spanned that much time. We had been listed as Theater. Corey told all this to the woman who picked up when he pushed the line for the Arts & Entertainment calendar. Her first response was maybe they just didn’t get the listing … Corey said, “Oh …” and started looking for the email he had sent them, but then she asked, “What was it?” Corey told her that it was called “Reality Playings”, a performance by Frank Moore … She said, “Oh … well, you know, we get a lot of complaints about Frank Moore …” They had chosen not to list the performance. Corey asked if they got complaints about simply listing Frank’s performances. “Yes. It’s not exactly ‘family fare’ … Frank does have his detractors …” Corey asked if they only listed calendar events that were “family fare”? She said, “Well no …” she said that they edit the calendar, it’s not an open thing, they have the right to decide what they want and don’t want to include … they don’t always list everything they get, don’t always list things every time … She said that “adults only” listings were less likely to be listed, and that they often recommended that people just buy an ad.

Poster by LaBash

Watch the video and read about the March 2009 “Reality Playings” performance here.


Adobe Books Art Show, Jam and Let Me Be Frank Screening

From the poster:

The Art of Frank Moore & LaBash
The first ever showing of shaman performance artist Frank Moore’s erotic innocent primitive passionate digital art, alongside the funny/disturbing/mind-scrambling/reality-bending drawings of LaBash.
Sunday, Feb. 2 – Saturday Feb. 15, 2020
Hours
M-F 12-8pm
Sa-Su 11am-8pm

Let Me Be Frank video screening
On Valentine’s Day, the first ever live screening of episodes from the web video documentary series, Let Me Be Frank, based on the life and art of shaman, performance artist, writer, poet, painter, rock singer, director, TV show host, teacher and bon vivant, Frank Moore.
Come EARLY and bring your musical instruments for a music jam before the screening!
Friday, Feb. 14, 2020
5-6:30pm – MUSIC JAM
6:30-8pm – LET ME BE FRANK screening and Q&A

FREE!

Adobe Books
3130 24th Street
San Francisco, CA 94110

Corey and Erika setting up the show.
Photo by Keith Wilson
Photo by Keith Wilson
Photo by Keith Wilson
Photo by Keith Wilson

MORE PHOTOS HERE AND HERE


See the art show (and setup) here:

About the jam and screening

by Erika Shaver-Nelson, Alexi Malenky and Corey Nicholl

When we arrived at Adobe for the event, we found that people had left comments and drawings in the notebook we had left in the gallery space.

“fuckin’ love this stuff!” “you inspire me profoundly” “many thoughts head full …” “whoa!” “WTF?! infathomable, navy?” “the world needs more FRANK MOORE for all of us to be sexually liberated!”

Heather said that the art show has been getting a lot of positive reactions, especially from young people who come into the shop. Heather and the other volunteers at Adobe Books create a very open feeling there, and it felt great to have the event there. She told us later that when we take down the art in a week, the next group is a bunch of young people who will be doing some sleepovers in the space, and writing their dreams on the walls …

We brought homemade popcorn (two kinds: buttered & curry), and orange spearmint water, and valentine’s chocolate … they were a big hit, devoured!

Michael Peppe was the first to arrive, and the first person who came for the jam. Only one other came to jam, one of the people we recognized from several of Frank’s later performances, including at Temescal. He brought a drum which he played, and sometimes took toy instruments and shook them inside the drum, etc.

But at first, it was just Peppe … he came back into the gallery and sat down at a keyboard and started playing … we three started jamming with him, and before long there was a couple who had not even come for the event, but were drawn back to the gallery space, and after checking out the art, they also joined the jam. It was really fun, and it felt/sounded like a Frank jam, felt primal, and Erika said that the feeling during the jam was “freedom”. As time went on, more people came in and joined the jam.

The Jam

Between the first two episodes, we were talking with Michael Peppe, and he said some amazing things about Frank …

“You have a bunch of things that you regret in your life, not necessarily that you regret doing, but regret not doing, but I was thinking watching the film that that’s one I totally do not regret, is hanging out with Frank Moore, and jumping into his thing, you know, going to performances, being in the performances, watching the videos, reading the text, and all his art … not one second of my life was wasted hanging out with Frank Moore.”
He remembered the first time he performed with Frank at UC Berkeley. “From that moment on, yeah, I absolutely do not regret any of that.”

He is such a once in a lifetime kind of person. Usually in art, you think well, wow, he was great, I wonder who the next guy’s gonna be. You know, who’s gonna follow up. There is no next Frank Moore. There is only one. There is only one, and that’s all you get. And I’m sure that there’s not going to be anyone quite as amazing and remarkable as him. The world has had plenty of time to come up with another one, and it hasn’t managed to do it, so … he’s it, he’s the only one.”

He also talked about the Outrageous Beauty Revue, which is when he first saw Frank at the Mabuhay in 1981. “No one had ever done that, and no one has done it since.” “Celebrating people for who they are, what they are, whatever they look like …” He was also really struck by the quotes from Frank at the end of the 1st episode, about faking it until you make it, and how Frank saw himself as beautiful. “And like he said, that’s magic. That’s what magic is. You know, that’s something to think about. That’s magic.”

Watching Let Me Be Frank with a live audience was amazing … it was the first time, after only having watched it together at home. Both the reactions, laughter, etc. and the silence really made you feel like people were taking a lot in from the episodes.

Alexi counted about 25 people at the screening. Among the people who came was a coworker from the health food store where Corey works, Kacey, and Erika’s coworker Megan and her boyfriend Josh. Megan was the last student who worked with Frank. Also, Keith Wilson came, the filmmaker who is doing his own documentary on Frank.

Let Me Be Frank screening

One of the first questions after the screening was if Frank had been an organizer for disabled people in the bay area community, or if his work drew other people with disabilities into his work. We talked about how he had participated in the protests in the early 80s at the Federal building in SF over the ADA, and also about the group that put on the OBR, and how it came together through Frank’s workshops, and that there were several people with disabilities that were part of the workshops and later formed deeper relationships, formed households together, etc.

We talked also about how Frank was challenging to the disability community in the seventies, because while they were advocating independence, hiring people to help you so that you could be “independent”, Frank was talking about having deep relationships with friends and lovers who would take care of your needs.

We also told the story of Frank showing Fairytales Can Come True at the CP Center.

Heather brought up what she had read in How To Handle An Anthropologist about Frank’s experience at the San Francisco Art Institute, and about not getting booked by gallery spaces and being embraced by other subcultures like the punk scene … and we ended up telling the story of The Lab cancelling Frank’s performances, and how the poetry community came out to perform with him on the street in front of the space. And then Peppe talked about how you can’t even count how many places have banned Frank! And how Frank didn’t care, he just thought it was funny!

A Japanese woman who Heather told us later had come specifically “for the Frank Moore event” told Erika that she had a friend who had been severely disabled, and gets very down in the dumps about what she can’t do anymore (she is an artist), and that she felt that Frank was really inspiring, and would be inspiring to her friend.

At the end of the night, after the second episode, she talked again about how Frank was really inspiring, especially how for so long, from such an early point, Frank had this idea of interdependence (instead of independence), and she was struck by his self-respect and his will to do his art, that was really admirable, and a lot of people could not do this, so she couldn’t understand how anyone could ever ban him! She also said he was “so cute! so lovable”

Afterward, a couple who had come to the event came up to us. Matt is someone who volunteers at Adobe, and is a musician who recently did a dissertation for his degree at Mills College where he helped create musical instruments for people with disabilities, that they could play and jam together with. He was really inspired by Frank, and had been thinking about doing something about Frank with his disabled students where he teaches at an Academy, but he said he will have to see what the administration of the school is open to.

Also after the screening, as we were packing up, Heather’s partner Kyle talked about the part of the OBR episode where Steve Hoffman was playing Joe Cocker. He was really impressed. He said it was “pure rock ‘n’ roll”, and that he have never seen anything quite like it.

When Peppe left, he asked us when is the next one!? He wants to be there.

Heather wants to do more screenings/jams, and suggested that perhaps the next one could be around Frank’s birthday!

From left to right: Heather, Corey, Erika and Alexi

MORE PHOTOS HERE


Watch the jam, screening and Q&A here:

You can watch the two episodes that were shown:

EPISODE 1: A Lucky Guy

EPISODE 12: Outrageous Beauty Revue

[LABEL THIS]

An exhibition at Franklin Furnace in 2019.

Curatorial Statement

Between 1987 and 2012, Franklin Furnace hosted and funded performances by artists Frank Moore (1987, 1989), Linda Sibio (1991), Gary Corbin (2005), Lisa Bufano (2006-7), and Dustin Grella (2012). These five artists utilize the ambivalent forces of hyper- and in-visibility directed towards them within a culture of ableism to captivate audiences and challenge viewers to confront their own relationships to ability, access, and identity. The performances of these disparate artists each point towards alternative modes of existence and relation.

[Label This] is the product of the passionate efforts of a group of Franklin Furnace’s 2019 interns. The topic of ability is personal, complicated, and important to highlight. Through this exhibition, we hope to work in concert with the project of Disability Awareness Month (July) by reiterating the importance of promoting diversity, accessibility, and inclusivity in the arts.

We focused primarily on works supported by Franklin Furnace (and of which original documentation resides within Franklin Furnace’s archives) and chose to incorporate some of these artists’ more recent work in order to trace their artistic development. We are excited to display documentation of work from these extraordinary artists who are connected through Franklin Furnace.

This exhibition and zine were curated by Rebekah Boggs (University of Virginia), Roxy McHaffey (School of the Art Institute of Chicago), Alyssa Rodriguez (Brown University), Mari Sato (Bates College), Allison Schaum (Brown University), and Van Tingley (New York University).

Here are some of the pages from the zine produced as part of the exhibition. Franklin Furnace intern, Alyssa Rodriguez, was one of the curators of the show and she was responsible for researching Frank and curating the portions of the exhibition and zine that explore his work.

Download the pdf of these pages here:
http://eroplay.org/wp-content/uploads/2020/02/Label-This-Franklin-Furnace-optimized.pdf

Here is the text from the Frank Moore pages:

PAGE 3:

FRANK MOORE

“I’m lucky to be an exhibitionist in this body. I like to be around people, but not in a polite way. I like to get down, talk about what you really feel, and play.”

Frank Moore interviewed by Chiori Santiago for  “Artist on a Roll” in the October 4, 1985 issue of East Bay Express

PAGE 4:

As a performance artist and self-proclaimed shaman, Frank Moore is recognized for his development of eroart and the concept of eroplay, which he defined as “an intense physical playing or touching oneself and others.” 1 Moore postulated that intimate community, formed through playful, asexual contact, could serve as a critical tool in the promotion of spiritual healing and human flourishing. An antidote to the social fragmentation and self-alienation necessitated by a culture of individualism, eroplay calls for psychic presence, vulnerability, and spontaneity.

Franklin Furnace hosted and helped fund Frank Moore’s performances of Intimate Cave in 1987 and Journey to Lila in 1989. These pieces, like much of Moore’s eroart, consisted of sustained, multi-hour sessions and incorporated elements of meditation, ritual magic, vocalization, rhythmic percussion, physical gesture, painting, projected image, and nude physical exploration to create an immersive world experience – a realm of fantastical possibility, which he called the “awake-dream.” Moore himself performed random gestures and vocalizations throughout these sessions. Local performers, musicians, and dancers were invited to participate as a cast of playful and eccentric characters, guiding the audience towards active participation. Moore urged his audiences to surrender their fears and inhibitions and embrace pleasure in the taboo.

PAGE 5:

Moore, who was born with cerebral palsy, cited his body as a creative asset, granting him freedom from societal expectations and normative standards of conduct. Moore firmly argued for the generative, world-making potential of embodied performance to manifest new modes of relation beyond culturally sanctioned conventions.

Moore’s creative work is inherently tied to his political beliefs and personal philosophy, which drew upon psychology, non-western spiritual traditions, the occult, and the creative, spiritual, and political countercultures of the 1960s. A prolific writer, painter, and musician, Moore was a resolutely anti-establishment advocate for difficult art.

Moore campaigned for the US Presidency in the 2008 election cycle. His performances and video works can be viewed online at https://vimeo.com/frankmoore

These works, as well as many of Moore’s visual and written works can be accessed via Frank Moore’s Web of All Possibilities: https:www.eroplay.com/

Background image: Frank Moore & Chero Company, 1989. Photographed by Eric Kroll

1 Caves* a book for a performance tour by Frank Moore, 1987

Season of hidden hope

a radio musical

November 23, 1993

1

Walking along
cold dark homeless
roads
clogged with ice fears,
my only friend
is the wind
chilling my bones
into longing
and lost
and beyond…
into a cynical loneliness.

Herding my sheep,
looking in windows
of unattainable desires,
looking at presents
useless
because
I don’t have anyone to give them to,

looking into the past
soft colored warm homes
that are no longer mine.

Everyone has left,
everyone is gone.

Even the sun has left
long ago,
long before the manger.

And the sun
will not come back
ever
again.
This is the season
of dark depression
and fragile suicide.

Yes,
I know
I can always bum up
the $29.95
to buy
the plastic hope and faith
at 7 Eleven
and pretend
it is my wonderful life
playing
in the video store’s window.

But instead
I wrap myself
in a jaded pretense
of dry ice isolation
of not caring,
and drinking
the stale
but warm wine of regrets.


2

The birth
of new hope
has always been hidden within
the long cold
winter darkness.

Huddled together,
clinging to our tribal warmth
as our only protection
against dying
into the scary
black
unknown,

we always have been blind
to the evergreen
hope of life.

It has always been
the first time
the sun
and easy hope
have gone away.

So we always think
they will never
come again.

The evergreen hope
has been hidden
away
in the womb
of the humble
and in children’s dreams.

The forces of greys
have always overheard
the possibility
of the hidden hope…
have always searched
for it
to pervert it
into human isolation…
or,
failing that,
to kill it
for all time.

But the forces of power
always overlook
the hidden human hope
rocking
in the baby’s cradle.

As power
goes on a desperate killing,
chopping
hacking
gorging,
eating
the old world up……
we huddle together
in the silent night
upon the hill,
rocking together
in our tribal body warmth.

The shaman,
the holy woman,
the medicine man
have always shifted
our attention away
from the dark
cold
outward
fear,
have always shifted
our gaze
to the guiding light
of new birth…
at first
in the stars,
then in the roaring
tribal fire
which pulled
all human feelings
within it,
and still later
into that corny
home hearth
crackling
with bright colors
popping.

Into this fire
we have always gone,
hearing
the drumming
of our innocent heart
beating
in a slow excitement,
meeting
again
our love of life.
We curl up
with our love
and wait
for warm spring
to arrive…
as hope grows
into knowing.


Christmas Card, digital painting, 2008 by Frank Moore
Christmas Card, digital painting, 2011 by Frank Moore
















A “Frank” Email Exchange

In 2005, Frank did a workshop series at a space in San Francisco. Here is an email exchange after the fifth workshop of the series:

From Robert:

Hi Guys-

First off, I enjoyed the workshop on Friday. The energy it sent into me and the community has been VERY palpable. We’ve been on a big ride there. Personally, I felt dancing with Adam broached a lot of subjects with me that I’m slowly sorting through.

Onto less fun things. I’ve been talking with our lawyer pretty extensively over the last few days. He is very concerned on a lot of levels about what happened on Friday night. His concerns, after talking about them, are valid in our book and we’d like to make some changes immediately. He says, and I agree, that not doing so puts our space in jeopardy.

(1)     We cannot video tape the workshops anymore

(2)     We cannot have the past five workshops being broadcast on Berkeley Public Access television

(3)     We would like any mention of our space or any of our names taken off your website

(4)     In future emails/promotions, please use only our first names and not our last names

(5)     And, we would like the return of the 5 video tapes of the first five workshops so we can destroy them.

Please call me at xxx.xxx.xxxx to discuss or email is fine as well. I am sorry it is going this way but in this era, it seems prudent.

Regards,

Robert

Monday, April 18, 2005



Frank’s reply (in bold):

Frank: Robert, I’ll respond throughout your letter to you.

Hi Guys-

First off, I enjoyed the workshop on Friday. The energy it sent into me and the community has been VERY palpable. We’ve been on a big ride there

Frank: Yes, it is very powerful how it is developing on all levels. But it is an on-going journey, more than a “ride.” The word “ride” suggests a thrill ride which trivializes the journey of the workshop. I know you see the workshop deeper than a thrill ride. We are journeying outside the walls of fear, isolation, etc.  I wouldn’t be doing my job if I agreed to let those same walls limit, contain, undermine, that magic journey within the workshop. That would totally kill what is growing within the workshop. And I have not done that in 40 years of doing this in THE REAL WORLD. I don’t plan to start now.

Personally, I felt dancing with Adam broached a lot of subjects with me that I’m slowly sorting through.

F: Yes, everyone got a lot out of it. And that liberation spreads out into the outside world through broadcasting it, through webcasting it, through writing about it, etc. It would be extremely sad to deny them this out of fear generated by a lawyer. According to him, what happened Friday night? What happened that didn’t happen in the other 4 sessions, including the first one he was at? What are his “concerns?” What would jeopardize your space? How? You kindly offered me your space to do my performance/workshop after I described what I had done in my series at U.C.B….including videoing every session to play on luver, b-tv, etc. This was during your first appearance on my SHAMAN’S DEN show. So you knew before you offered that we would be videoing the sessions. You knew that videoing was part of my art/work.  We have videoed all 5 sessions with your full knowledge.  So the below ultimatums are surreal!

Onto less fun things. I’ve been talking with our lawyer pretty extensively over the last few days. He is very concerned on a lot of levels about what happened on Friday night. His concerns, after talking about them, are valid in our book and we’d like to make some changes immediately. He says, and I agree, that not doing so puts our space in jeopardy.

  • We cannot video tape the workshops anymore.

F: This would end my doing the workshop at your space. This is your right of power.  But it would be a shame. And I don’t think that is your desire. It would be impossible to do the workshop without the freedom.

  • We cannot have the past five workshops being broadcast on Berkeley Public Access television.

F: As you know, they have been playing on luver and b-tv…as have the two SHAMAN’S DEN shows you guys were on. You can’t put the genie back in the bottle.  The workshop is/was a public event of my work.

  • We would like any mention of our space or any of our names taken off your website.

F: Why on earth would you want that? Rather insulting. But I don’t hold that against you. Fear is irrational. But we have a history together. I don’t erase history.

  • In future emails/promotions, please use only our first names and not our last names.

F: Again, why? No. And hey, how many good looking ROBERTS are there at your space?

  • And, we would like the return of the 5 video tapes of the first five workshops so we can destroy them.

F: Those tapes are of my art/workshop and are the property of Inter-Relations. Your space has no right to them. RETURNING IS AN EXTREMELY STRANGE WORD to be using. But then so is “destroy” art and history.

If I were you, I’d fire that lawyer…or at least get a second opinion!

I am sorry it is going this way but in this era, it seems prudent.

Regards,

Robert

New NONFILMS Minisite

We have put together a new minisite featuring all of the videos that Frank called NONFILMS:

https://eroplay.com/nonfilms/index.html

Here is what Frank wrote for Vimeo about this series of videos:

Today we put up the first in the series of private performances I did in the early eighties. I now am calling these NONFILMS. These were also the raw footage of my films EROTIC PLAY and THE NUDE CAVE. I told the people we were filming I was doing a film. So I made films! But basically I was bringing back the concept of NONFILM which I played with in the early seventies and now videoing these private performances.

From Art of a Shaman, Chapter 7, NONFILMS:

Ever since college days, I had been writing nonsense scripts dealing with nudity and nonsexual eroticism. Also during my college days, I read such books as Toward a Poor Theatre and The Theatre and its Double. But it was not until I and my communal family took a very intense film‑making course in Santa Fe in 1972 that I was able to put my weird ideas into performance.

We made films of rolling nude down a hill, smearing bodies with baby food, nursing by a sexy woman. But when the film course was over, I did not have money to make films. I could not see putting my energy into getting money to make films, could not see putting up with the compromises and outside control involved in an artistic context requiring big bucks. For me, the act of breaking a taboo is what is magical, what effects change…not someone seeing it in a film.

This not having money, this not wanting to be controlled and limited by money, was what sealed me into a performance life.

So I started looking for a way to work with people. I wanted to see people nude, and touch them, and to create an intensity between us.

I had been painting oils for years, painting with a brush strapped to my forehead, painting nudes from magazine photos. One day, a rich woman asked me to paint a nude of her. My wife set me and my paints up in the fancy living room as the woman undressed. On that day I realized how art can give people permission to do what normally is forbidden. It gives a frame that switches realities from the narrow normal reality to the freeing altered reality of controlled folly. If you go up to a stranger on the street and ask him to show his body to you, you will be lucky if he just walks away and does not hit you. But if you sincerely (and sincerity is a key) ask him to model for a painting or be in a video that involves nudity, there is a high chance he will do it because you are offering him a key to a new, different, and temporary reality.

This began my street series. I sat on the center plaza, “selling newspapers”. But selling papers was only a context. The context for me was an excuse for watching people, talking to people who had the slowness and the insightful curiosity to stop and talk…a way for me to ask them to model for me. These special people were my real targets for my street pieces. They saw past the mask of the cripple. The masses used the mask of the cripple to relieve their guilt, to reinforce their fragile superiority of being “normal”, to make themselves feel better by throwing money (up to $20 a throw) at the less fortunate at whom they would not even look. The third type of person was made up of the poor and the kids who gave money as a pure spiritual act. When the special person stopped to talk, a crowd gathered around to listen. Money fell on my board while I was asking the special person to model.

The newspaper selling quickly fell away. All I had to do was sit there on the sidewalk, being available to talk. It did not matter that I dressed fancy, or had a sign saying “I don’t want money; I want you”. The money kept falling. But I did discover that there are special spots and special ways of sitting which attract people. Sit at a slightly different angle, or on a spot a few feet away from the special spot and you become invisible.

I have done these street performances across the country. I have gotten tickets to the Joffrey, filled a couple of workshops, got my cameraman for one of my films, all from the street pieces. I almost caused a riot in front of Caesar’s Palace in Atlantic City, N.J. The crowd did not take kindly to the casino guards trying to push me away because I was taking Caesar’s money.

I painted a lot of the special people from the street performances. I noticed the changes in the people when they took off their clothes; how they relaxed, how they started talking on a deeper level about important personal things. After I got a taste of direct inter‑personal acting out of erotic dreams, painting became too static. I began a series of private performances called Nonfilms. I asked the special people from the street performances to come to my home, into my study which was my first cave. Within this cave, cut off from the normal reality, we created scenes which no camera would shoot, nobody would see. Although I had played with my friends before in nonsexual eroticism, this was the first time I tried to use “sexual” acts in a nonsexual art form. I was surprised with the power that this released. Because of these scenes, the people started talking about their lives during these sessions and said it helped their other relationships. Not one person minded that there was no film. These nonfilms were the base for my career in relationship counseling.

I first noticed the nonlinear effects of private performance in these secret rituals. People whom I approached on the street came to me weeks after the nonfilm, the person usually reported changes in his life, in his relationships, in how people were towards him…all of which amazed him (and me too) because he hadn’t told anyone that he had done the ritual. Part of the change in how people related to him can be explained linearly by the change in the person emotionally and even physically caused by the performance. But this does not explain how things “just happened” to him, things that were improbable, things that we both linked to the ritual.


Here is a selection of stills from some of the videos:

Here is NONFILMS, Episode 7 of the web series, Let Me Be Frank:

Internet Archive is the new home for Frank’s videos

Frank Moore’s videos are now being uploaded to the Internet Archive, http://archive.org

They can be found on the Internet Archive here as they are uploaded: https://archive.org/details/frank-moore-archives

As they go up on the Internet Archive, we will put them back up where they are missing on this blog and on Frank’s website, https://www.eroplay.com/

Poetry Bash, Fort Mason, San Francisco 1988.
Photo by Linda Mac.

How to Handle an Anthropologist on KPFA

Michael LaBash, Jovelyn Richards and Linda Mac

The new book, How to Handle an Anthropologist: Russell Shuttleworth, PhD interviews shaman/performance artist Frank Moore, was featured on “Jovelyn’s Bistro” on KPFA’s Cover to Cover Open Book, August 21, 2019. 

Linda Mac and Michael LaBash joined Jovelyn Richards in the studio for this live broadcast. Listen to the interview here:

About Jovelyn Richards:

“Sometimes We Need Art, More Than Food & Water.” Jovelyn Richards interviews artists who explore emotional intimacy through their narratives within theatre, film and literature, along with voices less heard. She talks with artists who explore emotional intimacy and the fringes of our culture. Jovelyn Richards is a writer, international performance artist and speaker. She holds both an MA and MFA in the Humanities.

For more about the book visit http://www.eroplay.com/hthaa/.

Frank Moore’s Vimeo account was terminated!

On Wednesday August 21, 2019, Vimeo abruptly terminated Frank’s account for violating their “guidelines”.

Frank had over 700 videos in his account that we have been uploading on a weekly basis for over eight years. His videos had over 33 million plays on Vimeo.com.

It will take us a while to get them all back up at a new place … but they will slowly start appearing on the site again as we upload them to their new home!

The other casualty of Frank’s account being terminated is the Vimeo group that Frank created called Nude Performance Art Dance and Video – EROART. This was one of the largest groups on Vimeo with over 14,000 members. It was part of the collateral damage of Vimeo terminating Frank’s account.