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

Category: Performances (page 1 of 5)

Western Naturist Gathering 1990

Frank performed “EROPLAY: THE CAVE” at the Western Naturist Gathering in June 1990 at Lupin Naturist Club, California.

From the flier:

EROPLAY: THE CAVE
with Frank Moore & company

From Berkeley comes one of America’s most acclaimed theater groups. They’ve brought shamanism, aesthetic nudity and sensuous risk to clothed audiences and raving critics nationwide – now, it’s time they risked a naturist audience of participants. Welcome a performance experience like nudism never saw.

Photos by Craig Glassner

The Un-Augural Ball

Frank and the Chero Company performed a version of the “Meat Act” at The Un-Augural Ball in San Francisco, California in 1989. Frank even got a haircut for the event. Jack and Adelle Foley read from Allen Ginsburg’s Howl for the flesh-eating climax!


Frank’s song list

Gallery

Click on a photo for a blow-up.

Swamp Fest West 1990

Frank participated in Swamp Fest West in 1990 with a performance of “Out of Isolation” on Market Street in San Francisco at the Montgomery St. BART Station and then, a day later, with a reading, by poet Jack Foley, of his essay, “The Combine Plot” outside the entrance to the downtown Berkeley BART Station. Here are an assortment of materials and photos from the event.

All photos by Craig Glassner

DOWNLOAD A PDF TO READ THE ARTICLE MORE EASILY.


Click on a thumbnail for a blow-up

Video with clips from both readings:

Philadelphia 1990

Frank performed Wrapping/Rocking at Group Motion in Philadelphia on September 22 and 23, 1990. We also did a photo shoot with photographer Tracy Kauffman Wood. Here are some photos and miscellaneous paraphernalia from the trip.

Group Motion event calendar

The flier they produced for the performance

Frank with Fran Markey, who hosted us at his house.
Thom Dura, who booked the performance, with Frank.
At Fran’s house … we used our backdrops as curtains.

Photos from the performance

A note left by one of the audience members
The glasses that were gifted to Frank.

Letter from Thom Dura after the performance

(Click on a thumbnail to get larger image)


Photos from the shoot with Tracy Kauffman Wood

with Frank Moore, Linda Mac, Mikee LaBash and Alexi Malenky.
(Click on a thumbnail to get larger image)

Gestures Intro

From Frank Moore’s performance, Journey to Lila.


A Chanter sings:

“This is a ritual, a magical ritual, a ritual of Gestures which will open up a physical, magical force within those who choose to participate. At times the ritual will be very silly. At other times there will be a raw vulnerability, an intimacy that is not limited by social taboos, not framed in by romance or sex.”

“This magical ritual operates on the random principle. Magicians and mystics have used the factor of chance throughout the ages to get past the rational, the logical, the linear, to get to inner knowledge or to universal wisdom. Shuffling the tarot cards and the throwing of the yarrow sticks for the i ching are but two examples of this random principle. In this ritual, the random principle, pulling gestures out of the box, will direct the ritual. Some gestures are silly. Some gestures are intense and intimate. The random principle makes each gesture equal. The random principle will remove the linear limiting taboo, sexual, romance context.”

“Linda will now pair people … to do the gestures.”

The Chanter waits until Linda finishes pairing. Then the Chanter sings:

“Slowness is important and the quiet gentle sounds and laughter will help the magic. Watchers should refrain from talking during the ritual.”

“Each gesture has a special time length. You should keep doing one action until Linda sings the next gesture.”
“You will start releasing the physical force of eroplay in your bodies. This ritual will take eroplay out of social, moral, sexual, and romantic contexts, so that the focus will be on the pure magical fun and pleasure. It is important that each act be done gently, slowly, softly, completely.”

The Chanter quietly exits. Linda takes over.

“ART EVOKES CHILDHOOD…HIDDEN PLACES WHERE YOU CAN PLAY AND EXPLORE…IT IS THE KIDS’ UNDER-THE-COVERS WORLD, THE PLAYHOUSE, THE TREEHOUSE, THE CAVE, BEHIND THE BARN, PLAYING DOCTOR, CARS AT DRIVE-INS BEFORE GOING ALL THE WAY, HUCK FINN’S RAFT, TEPEES. PEOPLE ARE AFRAID OF THIS AREA OF LUSTY EXPLORING THAT THEY THINK THEY HAVE OUT GROWN…BUT THEY ARE SUCKED INTO IT.”

“WE ARE IN THE CAVE OF DREAM. WE ARE IN A BATTLE OF AN UNDERGROUND WAR AGAINST FRAGMENTATION. ART IS WAR AGAINST FRAGMENTATION. THE BATTLE IS ON ALL REALITIES. THE CONTROLLERS HAVE ALWAYS TRIED TO FRAGMENT US. FRAGMENT US FROM EACH OTHER. IMPRISON US IN ISLANDS OF SEX, COLOR, RELIGION, POLITICS, CLASSES, LABELS, ETC., ETC., ETC., ETC., ETC. THEY FRAGMENT OUR INNER WORLDS, THEY BLOW OUR INDIVIDUAL REALITIES APART, AND PLAY THE PIECES AGAINST ONE ANOTHER. THEY ARE US, OR A PART OF US.”

“THEY ARE THE CONTROLLERS, THE POLITICIANS, THE SEXISTS, THE WOMEN’S LIBBERS, THE PORNOGRAPHERS, THE CENSORS, THE MORALISTS, THE CHURCH, THE MEDIA, THE BUSINESSMEN, EDUCATORS, THE VICTIMS AND THE POWERFUL.”

“THEY ARE US. THEY HAVE DIVIDED US FROM OUR POWER, FROM OUR BEAUTY, FROM OUR LUST OF LIFE AND PLEASURE. THEY HAVE DIVIDED US FROM MOST OF REALITY…DYING FROM LIVING…SEX FROM LIVING, SEX FROM PLEASURE. WE ARE KEPT IN BOXES OF FEAR, OF MISTRUST. WE ARE KEPT WAITING…KEPT WAITING TO DO WHAT WE WANT…WAITING FOR ENOUGH MONEY, ENOUGH SCHOOLING, FOR EVERYTHING TO BE RIGHT. WE ARE KEPT WAITING AND PROTECTING AND HIDING AND SUFFERING.”

“TIME TO DO BATTLE WITH THE BOXES.”

“OUR TOOLS ARE MAGIC, OUR BODIES, AND DREAMS.”

“IN MAGIC WORDS HAVE POWER. TO CREATE A WORD FOR SOMETHING IS TO CREATE THE POSSIBILITY FOR IT TO EXIST IN OUR REALITY…FOR IT TO HAPPEN.”

“EROPLAY IS A MADE-UP WORD FOR INTENSE PHYSICAL PLAYING AND TOUCHING OF ONESELF AND OTHERS. EROPLAY IS ALSO THE FORCE OR ENERGY WHICH IS RELEASED AS THE RESULT OF SUCH PLAY.”

“IT WAS NO ACCIDENT THAT THERE WAS NO WORD FOR EROPLAY. IT IS IMPORTANT FOR THE PLOT OF FRAGMENTATION TO KEEP THE SPECIAL POWER IN THE ORGASMIC SEX ACT. SO IT WAS HARD BEFORE THE WORD EROPLAY TO TALK ABOUT IT CLEARLY, TO THINK ABOUT IT CLEARLY, AND TO EXPERIMENT AND PLAY WITH IT WITHOUT SEXUAL UNDERCURRENTS AND FEARS CREEPING IN. THIS WAS BECAUSE WE HAD TO USE WORDS LIKE LUSTY, SEXY AND EROTIC TO ATTEMPT TO TALK ABOUT IT. IN OUR LANGUAGE, ALL OF THESE WORDS HAVE SEXUAL CONNOTATIONS. IN MAGIC WORDS CREATE. SO IF YOU USE SEXUAL WORDS FOR A NON-SEXUAL PLAYING, THE SEXUAL WORDS WILL SET A FALSE SEXUAL CONFUSION. THIS IS WHY THE WORD EROPLAY ITSELF IS IMPORTANT.”

“EROPLAY IS NOT FOREPLAY, EVEN THOUGH FOREPLAY IS EROPLAY.”

“KIDS PLAY VERY PHYSICALLY BOTH WITH THEIR OWN BODIES AND OTHERS’ BODIES. THEY GET TURNED ON BY THIS PLAY, TURNED ON BOTH PHYSICALLY AND MENTALLY. THIS TURN-ON IS NOT SEXUAL IN KIDS. STUDIES HAVE SHOWN THAT BABIES WHO ARE HELD, TOUCHED, AND PLAYED WITH ARE MORE HEALTHY AND ALERT, WEIGH MORE, AND HAVE A LOWER RATE OF DEATH THAN BABIES WHO ARE DENIED THIS EROPLAY. STUDIES ALSO SHOW THAT OLD PEOPLE WHO LIVE ALONE, WHO DON’T GET PHYSICAL AND EMOTIONAL CONTACT, ARE LESS HEALTHY AND DIE SOONER THAN PEOPLE OF THE SAME AGE WHO LIVE WITH OTHERS AND GET THAT PHYSICAL CONTACT.”

“WHEN WE GROW UP INTO ADULTS, EROPLAY IS LINKED TO SEX, MAYBE TO ASSURE PROCREATION. BUT THERE MAY BE DIFFERENT RESULTS WHEN EROPLAY IS NOT CONNECTED TO THE SEXUAL ORGASM.”

“FOREPLAY IS EROPLAY, BUT EROPLAY IS NOT FOREPLAY. WE NEED A CERTAIN AMOUNT OF STRAIGHT EROPLAY (NOT CONNECTED TO OR LEADING TO SEX) TO BE AS HEALTHY AS POSSIBLE.”

“FOREPLAY LEADS TO ORGASM…EROPLAY LEADS TO BEING TURNED ON IN MANY DIFFERENT WAYS AND IN ALL PARTS OF THE BODY. IT CAN BE DIFFERENT EVERY TIME.”

“SKIN TOUCHING SKIN SEEMS TO BE WHAT RELEASES THE FULL IMPACT OF EROPLAY.”

“EROPLAY CAN BE INTENSE. IT IS LIKE WHEN YOU RUB A PUPPY ON ITS BELLY AND THE PUPPY GOES INTO A STATE OF RAPTURE, BOTH TOTALLY TURNED ON AND RELAXED. TO USE SOMETHING THAT IS NOT NORMALLY CONFUSED WITH SEX, EROPLAY IS THE BLISSED OUT, WARM, RELAXED, TURNED ON, TOTALLY SATISFYING FEELING OF A GOOD HEAD RUB.”

“THE SAME FEELING COMES FROM PLAYING WITH EARS. EROPLAY IS THAT INTENSE FEELING THROUGHOUT THE ENTIRE BODY.”

“SEX IS CONNECTED TO MATING; WHEREAS THE COMBINATION OF BOTH PHYSICAL AND PSYCHIC FORCES RELEASED DURING AND AFTER EROPLAY ARE CONNECTED MORE TO COMMUNICATION AND ATTRACTING PEOPLE TO YOU.”

“WHAT STOPS MOST PEOPLE FROM PHYSICALLY EROPLAYING WITHOUT CONNECTING IT TO SEX, WITHOUT SEXUAL UNDERCURRENTS OR EXPECTATIONS, IS THE INABILITY TO SEE WHERE EROPLAY ENDS AND SEX BEGINS. FOREPLAY IS EROPLAY, BUT EROPLAY IS NOT FOREPLAY. THE DIFFERENCE BETWEEN FOREPLAY AND PURE EROPLAY IS ONE OF INTENT…PHYSICALLY THERE IS NO DIFFERENCE. BUT THERE IS A DIFFERENCE PHYSICALLY BETWEEN EROPLAY AND SEX. EROPLAY IS SATISFYING IN ITSELF, IN RELAXING INTENSITY. THERE IS NO BUILD UP OF PENT-UP ENERGY IN ONE CLIMACTIC ACT. IN SEX, HOWEVER, THERE IS A POINT WHERE FOREPLAY (EROPLAY) CEASES TO SATISFY AND ENERGY GETS PENT UP AND BUILT UP TO BE RELEASED IN THE SEX ACT. THIS BUILD UP IS A CLEAR AND BROAD DIVIDING LINE BETWEEN THE TURN ON OF EROPLAY AND SEX.”

“EROPLAY STARTS WHEN THE POSSIBILITY OF THE PHYSICAL EROPLAY ARISES…THE POSSIBILITY OF THE BREAKING OF THE NORMAL RULES, SOCIAL CONVENTIONS AND MORALITY.”

“THE TALKING AND THINKING ABOUT EROPLAY WILL EXCITE, WILL TURN YOU ON, EVEN PHYSICALLY. THIS SEEMS TO BE A NATURAL PART OF EROPLAY, AN INNATE PART.”

“BREAKING TABOOS HAS ALWAYS BEEN A PART OF ART…AT LEAST THE AREA OF ART THAT SEEKS TO CHANGE CONSCIOUSNESS, CHANGE MORALITY, CHANGE REALITY.”

“THE WAR IN THE CAVE OF DREAM IS NOT A WAR OF HATE, PAIN, KILLING, DYING. IT IS A WAR OF LAUGHING, LOVING, TOUCHING, DREAMING, OF PLEASURE, OF BREAKING TABOOS. IT IS NOT A MASS MEDIA WAR. IT IS AN INNER WAR, A PERSONAL WAR. IT IS A WAR OF FUN.”

“EROPLAY IS FUN. EROPLAY IS FUN. EROPLAY IS FUN.”

“EROPLAY IS INNOCENT AND CHILDLIKE.”

“EROPLAY’S FOCUS IS ON PHYSICAL ENJOYMENT AND PLEASURE FOR ITS OWN SAKE. THIS IS ONE REASON WHY EROPLAY IS TABOO IN OUR SOCIETY WHERE RELIGION TEACHES PHYSICAL PLEASURE FOR SELF IS BAD.”

“EROPLAY CONNECTS YOU MORE WITH YOUR OWN BODY AND WITH OTHER PEOPLE. IT DECREASES ISOLATION AND ALIENATION. IT INCREASES SELF-TRUST AND TRUSTING OF OTHERS. IT MAKES YOU HARDER TO BE CONTROLLED. THIS IS ANOTHER REASON WHY EROPLAY IS TABOO.”

“BECAUSE THE AFTER-GLOW OF EROPLAY ATTRACTS PEOPLE TO YOU, YOU GET MORE OPPORTUNITIES IN ALL ASPECTS OF YOUR LIFE. AND BECAUSE EROPLAY RELAXES YOU AND GIVES YOU MORE ENERGY, YOU ARE IN A BETTER POSITION TO USE OPPORTUNITIES.”

“BECAUSE EROPLAY IS NOT FOCUSED ON GOALS OTHER THAN PHYSICAL ENJOYMENT IN MANY WAYS, AND BECAUSE IT DOES NOT LEAD TO A MATING LIFE, EROPLAY WOULD BE MUCH HARDER TO USE TO SELL PRODUCTS THAN SEX. THIS IS A REASON WHY EROPLAY IS TABOO.”


Read more about Gestures here:
http://eroplay.org/gestures/

and here:
http://eroplay.org/gestures-part-2/


From the book Frankly Speaking: A Collection of Essays, Writings and Rants by Frank Moore: http://www.eroplay.com/franklyspeaking/

Evolution Ritual

This is one of the many ritual “modules” that Frank created for his performances.


We are going on a journey to Lila. Lila is an inner island. On Lila there is no isolation or competition or fear. But to get to Lila, we have to let go of our personalities and fears and inhibitions. We have to pass through the transition that is death, through rebirth, through losing our old personalities in the form of our clothes, then going playfully through all the stages of evolution until we are reborn on the island of Lila in the bodies of babies who will grow up slowly into teenage Lilans, and then will do rituals of play. Death is not something to fear. It does not hurt. It is not an end.

But this journey is only for heroes…only because heroes are the only people crazy enough to make this journey. Heroes think that only by risking, they will find the hidden treasures and the hidden meanings of Life. Heroes actually think taking risks and going beyond limits is fun! Sane people do not think like this.

We will now divide the ritual community into those of you who think of yourselves as heroes and those of you who think you are sane. The heroes should sit in the middle of the ritual space, and those of you who are sane should sit against the walls. The heroes will actively take this journey both for themselves and for the sane people. As heroes, you will go on an adventure of risk and vulnerability. As heroes, you will be stripped of your old personality and approach death in nudity and vulnerability. You will have personal guides who will move you into death in a soft and gentle way, into the floating reality of between lives. You will then experience the evolution of life.

Those of you who are too sane to be heroes, please sit against the walls. You are now the watchers…which may be much more risky. As the watchers, you should just watch. Please do not talk.

Now, you heroes, lie down on the mat and close your eyes. Lila is an inner island, warm and green. The people are playful. They know no isolation, no fear, no violence. Lila is cut off from our world by death…so, to reach Lila we have to die. Death in itself is not painful, it is not an end. It is a transition. Soon the guide of death will come to help you through the transition.

Now those who are along the walls make soft sounds, gentle noises to help the death process. The guides should gently lift the heroes/spirits into a sitting position. The guides should hold the heroes/spirits and rock them. Melt into one another as you rock. When the heroes/spirits are melted, both the heroes/spirits and the guides should stand up. Because we are now beyond time, there is no reason to rush. To prepare the hero for death, the guide will take the old personality in the form of clothes from the hero, slowly undressing the hero and then will lie him back down.

Evolution Ritual at “Journey to Lila”, Berkeley, 1990. Photo by Kevin Rice.

Now Death is approaching…quietly, gently. It is like a soft, warm blanket. It will slowly cover you. It will start at your toes and travel up your body like caresses. When it reaches the top of your head you will be in an in-between state where you will not have either your old body or old personality. Enjoy floating. Some of you are floating in a cozy dimension. Explore that bodiless state. Do not try to get up because there is no up. The floating is the womb of life, all life, all matter. You are all life, all matter.

Now, keeping your eyes closed, roll in slow motion towards the center of the room, stopping only when you are surrounded by a web of warm soft skin.

You are now parts of a huge rock. Act, sound, move, and relate as parts of the huge rock. Most people think the inorganic is not aware. We now know different.

Time freezes.
Time flows by.

You are now parts of a single-cell organism. Act, sound, move, and relate as parts of a single-cell organism.

Time freezes.
Time flows by.

The single-cell is now dividing. You are now cells in a multi-cell organism. Act, sound, move, and relate as cells in a multi-cell organism.

Time freezes.
Time flows by.

You are sea weed. Act, sound, move, and relate as sea weed.
Open your eyes.

Time freezes.
Time flows by.

You are snails. Act, sound, move, and relate as snails.

Time freezes.
Time flows by.

You are a school of fish. Act, sound, move, and relate as a school of fish.

Time freezes.
Time flows by.

You are dolphins. Act, sound, move, and relate as dolphins.

Time freezes.
Time flows by.

You are jellyfish. Act, sound, move, and relate as jellyfish.

Time freezes.
Time flows by.

You are frogs. Act, sound, move, and relate as frogs.

Time freezes.
Time flows by.

You are snakes. Act, sound, move, and relate as snakes.

Time freezes.
Time flows by.

You are ants. Be, act, sound, move, and relate as ants.

Time freezes.
Time flows by.

You are mice. Be, act, sound, move, and relate as mice.

Time freezes.
Time flows by.

You are birds. Be, act, sound, move, and relate as birds.

Time freezes.
Time flows by.

You are vegetarian dinosaurs. Be, act, sound, move, and relate as vegetarian dinosaurs.

Time freezes.
Time flows by.

You are kittens. Be, act, sound, move, and relate as kittens.

Time freezes.
Time flows by.

You are chimps. Be, act, sound, move, and relate as chimps.

Time freezes.
Time flows by.

Close your eyes.
You are newborns on Lila.
On Lila, there is only one family. All are brothers and sisters, mothers and fathers. You are in a playpen. Act and sound and be newborns.

Time freezes.
Time flows by.

You are now six months old.

But even at six months old, you will notice the difference from the old life. There is no violence or competition on Lila. Act and sound and be six months old. Open your eyes. What cute babies!

Time freezes.
Time flows by.

You are now one year olds and the differences are more obvious. Be and sound and act and relate as one year olds on Lila. But stay in the playpen of the mat.

Time freezes.
Time flows by.

You are now two year olds. Not the terrible twos you vaguely remember but the fun, playful twos of Lila. Be and act and sound and relate as two year olds.

Time freezes.
Time flows by.

You are now five year olds. Act and be and relate as five year olds.

Time freezes.
Time flows by.

You are now sixteen years old and it is time for the ritual of eroplay and becoming a full member of the Lilan community. You will always be sixteen years old on Lila even after this dream has faded. Now for the ritual. We will now do the eroplay ritual of Gestures.


Evolution Ritual at “Reality Games”, Antioch University, San Francisco, California, 1988. Photo by Linda Mac.
Evolution Ritual at “Reality Games”, Antioch University, San Francisco, California, 1988. Photo by Linda Mac.
Evolution Ritual at “Reality Games”, Antioch University, San Francisco, California, 1988. Photo by Linda Mac.
Evolution Ritual at an in-class workshop at the School of the Art Institute, Chicago, Illinois, 1991.

The text of this was published in the book, “Frankly Speaking: A Collection of Essays, Writings & Rants” by Frank Moore, published by Inter-Relations in 2014.

The Night of Taboo-Benders, Slaughterhouse, Oakland, CA

This show, that was put together by John the Baker, took place the day after Frank’s birthday in 2004. Kirsten arranged to have a large blow-up of the show’s poster made to hang on the wall backstage for people to write birthday wishes on. Below is the poster we took home after the event:

Here are the details of the show along with some photos and backstage footage!

The Night of Taboo-Benders
a benefit for www . luver . com
A night of cultural terrorism and subversion with legendary hard/deep core reality messers deep in the bowels of the underground where luver.com webcasts 24/7!
It was an historic show!
The Slaughterhouse, Saturday, June 26, 2004

Featuring
(in order of appearance)
Hep Si
New Earth Creeps
Fluff Grrl
The Feederz
Frank Moore’s Cherotic All-Star Band



More: eroplay.com/Cave/taboobenders/index.html

Aktivist March 2008 Poland – Part 2

Date : 4/17/2008 7:17:59 AM
From : "Frank Moore"
To : "Frank Moore/E-SALON"
Subject : Aktivist translation

well, here's another european article about our campaign in a major magazine. this time our own tomek translated it back into english. tomek said it's a very popular mag, with a readership of around 8 million! we are reaching a lot of people with this campaign!

it is a good piece…getting a lot out. it is interesting how what i actually said changed through a different language…and through extensive editing i assume for space [the actual interview was much longer]….and when i talked about how the corporations are ripping us off of our culture and nightlife, actual censorship. but the message gets through. i will send out the original interview so you can compare.

Here is the link to the actual interview as it appeared in the magazine.


Here is the full interview …..

Let’s say I’m an American. Try to convince me why should I vote for you?

Sure!

I have been running for president for about a year now. I started running basically because none of the prominent candidates are talking honestly and directly about the state of things, are committed to fundamental change, and have a clear plan to create a humane, sustainable, and just plain enjoyable society. So I took on that role. When everyday people in the “real world” hear about my candidacy, they become extremely excited. They don’t see a performance artist in a wheelchair. They don’t check the odds of my winning. Instead they see someone who they could excitedly vote for… somebody who shares their dreams, talks deeply about what really affects their lives. And then they read my platform. Then they got more excited at how possible it is to bring our dreams for our society into reality… to remove fear and isolation; to get the boot of big corporations off our neck; to provide everyone health care, life-long education, a minimum income, and a livable wage; to restore our rights and freedoms; and to bring our troops home now! We everyday people know the real state of the union! But more importantly, we have the sense of what is possible! We need leaders who share our dreams and who do not sell us short. Or sell us out!

So for most of the year, I have been running way below their radar. A performance artist in a wheelchair “pretending” to run for president is no threat… just a weird piece of conceptual art. But now I’m beginning to be a blip on the radar. Just a blip, mind you. But it is amazing that we have gotten to the blip stage this early… or at all! A blip who talks about the issues seriously and who gives real alternatives is dangerous. So the gatekeepers are beginning to say that I am not a “real” or “serious” candidate. What they are really saying is that I’m not a part of the political system that has been corrupted by big bucks; that I’m not playing by the unwritten rules, etc. And of course this is true. It is one of the reasons why everyday people are excited about my running. That big bucks political system has been divorced from the everyday reality, hijacked by the addicts of obscenely huge profits. I am a real, serious candidate. I’m just working outside of their boxes. Outside of boxes is where the new possibilities are. Inside the limiting boxes is where political power is created. This is why the normal politicians stay in the boxes. This is why fundamental, humane change rarely—if ever—has come from power politics. I hope they keep saying that I’m not a real and serious candidate because each time they say that our blip gets brighter and more intense. I also hope they keep saying I am the candidate of the fringe, of the margins. Consider who they have marginalized… the poor, the working poor. In fact, most of the labor force: the disabled, gays, seniors, the uninsured, women, the middle class, artists, family farmers, racial minorities, immigrants, etc. Hey, I may win by a wide margin!

True, I do have my problems. As one “art expert” once wrote, I, “Seem to have a compulsion not to take no for an answer under any circumstances.” I do have this disability of not knowing what is “impossible.” So, I just figure out how to do it. When I was born, the doctors told my parents I had no IQ. Obviously the doctors were wrong. So I don’t pay any intention to the supposed limitations. I just do what is needed. When I was growing up, I struggled to get educated, struggled against discrimination and prejudices. I really enjoy the righteous struggle. This enjoyment of struggle gives me an advantage when struggle is needed. When Senator Jesse Helms tried to blacklist me, when the Berkeley City Council tried to ban my public access cable show… there have been so many struggles! My enjoying righteous struggle has been a winning element. I also enjoy when struggle is successful. I’m looking forward to the huge struggle of taking away controlling power from the big corporations, of reclaiming the rights and freedoms that have been stolen from the people of this country, of creating a new post-oil social order in which we will eliminate fear of getting sick, of getting old, of the future, of the Other.

In reality, as president, I will be able to do a lot to start the process of change. And I will! I get results! I deliver! But realistically, I will be working with a Congress full of people heavily invested in the old power system. I will need you! Writing me in on Election Day will just be the first step. I will need you to get involved in your local community. I will probably need you to put pressure on Congress—and on the press—to enact our dreams. It may take you coming to Washington DC a few times as you did for civil rights and to stop the Vietnam War. But together we will get this done! If it takes me throwing a giant party on The Mall every three months, then that’s what I’ll do!

It will be an exciting, fun four years! Just imagine a world in which somebody like you or me could really become president. Now keep imagining it and we just may win! Do not throw your vote away on a candidate who does not share your dreams, who is not committed to bring your dreams into reality! Go for it! It is the only practical thing to do because if we don’t go for it, we will never get what we need, what we want, what we are dreaming. Hey, it just makes sense… right? So write Frank Moore in on Election Day!

Analyzing your biography one can imagine Frank Moore’s campaign as another performance, but reading/watching your political statements everything looks very serious. Where the truth lies?

Well, are not all political campaigns performances? That doesn’t mean they are not serious. My performances often start with something seemingly trivial then grow by themselves very quickly into forces unto themselves. This campaign started with a t-shirt of The Three Stooges.  Michael [“Mikee”] LaBash, who is one of five people I live with in a tribal relationship and who is our graphic/web designer, had a CURLY FOR PRESIDENT t-shirt. For Christmas two years ago Mikee made me a FRANK MOORE FOR PRESIDENT shirt. When I wore it, people started asking me what my platform was. So I wrote a platform up. Everybody who read it got excited, overflowed with hope, saying it expressed what they felt and wanted. Their reactions placed on me a responsibility to mount a serious campaign, to commit and surrender to it…and to hang on no matter where this ride would go. I never know where a performance or a project will evolve.

I do performances not to tell stories, not to paint pictures for others to look at, not even to reveal something about myself or about the state of things, and certainly not for fame or fortune. It’s simply the best way that I see to create the intimate community which I as a person need and that I think society needs as an alternative to the personal isolation. I have always wanted to bring dreams into reality. For that to be successful, a seriousness and a respect for the process and for the people in the “audience” is required. In my long ritual performances in the 80s and 90s, I took my audiences via performance techniques to an island called Lila, on which everybody was family…where isolation, fear, competition, etc. did not exist. The physical contact with such a society in the dream state of the performance opened up for the people the real possibility of such society existing in this reality. This released hope. And hope brings about change, raises expectations, and brings people together. This campaign just has a much bigger frame than those rituals!

You say you are a “political virgin”. History of presidential elections shows independent novice defeat in election game. Especially a person like you, who doesn’t care about all “political world”.

Do you mean I am not a politician, not addicted to getting and keeping power? That is true. I have never run for political office before…except in college. But I have always been involved in politics in a bigger context…that of social change.

When I was born, doctors told my parents that I had no intelligence, that I had no future, that I would be best put into an institution and be forgotten. So the struggle for freedom, and against the powers-that-be has been my life. And it has been a continuous struggle, struggling with schools to let me in, etc. I have always been a radical. But that became obvious when I was 17 and invented my head pointer with which I type and communicate. The first thing I wrote was how I believed in a one world socialist government. I started writing political columns for the high school paper…as well as putting out an underground paper. I was in the first special class placed on a regular high school campus so that the disabled students could be in regular classes and be a part of campus life. I was involved in the civil rights and anti-war movements. This was 1965…before it was popular to be against the Vietnam War. In the school paper I got into a debate with a GI in Vietnam. I was sat down and told that, because of my political philosophy and activities, I was hurting the chances of the disabled students who would come after me. I replied that the goal was to get the rights for the disabled [and for all people] to be complete and equal…and that included the right to be political. I would not surrender that, or any other, right.

So I started doing political columns for underground newspapers, joined Students for Democratic Society. I helped to found the San Bernardino chapter of the Peace and Freedom Party in the late 60’s.  I did political pranks…such as rolling in my wheelchair into the Marines Recruiting Office to join, offering to push the BUTTON with my head pointer. But after the Kent State killings, I switched from straight politics to art, performance, and community building as my tools for effecting social change. The only public office I have held is when I was appointed to the rent board in Santa Fe, New Mexico after a successful rent strike in the early 70’s. I also continued writing political columns in underground newspapers. Moreover living tribally is a powerful political act.

 In the early 90s I and five other performance artists were targeted by Sen. Jesse Helms in what is commonly seen as the first battle of the cultural wars. This placed me in a great position to fight for our freedoms!

And I always have projects that confront political suppression in very sneaky ways. For an example, in recent years I shepparded a project to test foods for GMO’s and to certify products as GMO or GMO-free. We had an independent testing lab and over 300 natural food stores in both the U. S. and Canada that would use the results in deciding what they would sell. We developed this project from our local consumer protest. In the end, the project threatened the corporate “natural”/“organic” food industry [the likes of Whole Foods] so much that they staged a hostile take-over to kill it. This is the kind of under-the-surface politics I’m into!

Historically the goal of independent and third-party candidates is not to “win.” Realistically the process is rigged to prevent us from “winning.” The function of such a candidate as I is to introduce ideas, to induce change, to raise the bar. Within this context, my campaign is extremely effective. But on the other hand, I JUST MAY WIN THIS SUCKER!

Realistically it is impossible for any of us independent/third-party candidates to win…and for that matter candidates such as Edwards whom the mainstream media labels hopeless. It is not really about a lack of money.

First of all a large number of states either out-right ban write-in candidates or make it virtually impossible to qualify to be a write-in candidate. These states throw out the entire ballot with a write-in on it. This disenfranchises the voters in those states from the full choices. It freezes in place not only the 2-party system…which is a product of evolution, not of the Constitution…but the two parties that happen to be the major parties at the present moment. This has to change before we will have a chance of winning. One effect of my campaign has been forcing several states to clean up their write-in processes.

The mainstream media wants to simplify the story down to as few candidates as possible as fast as possible…focusing on the candidates the closest to the corporate interest and painting the rest as fringe….and hence not worth coverage or being included in debates.

But the indie media has developed as a meaningful alternative to the mainstream media. And it will get much more powerful in the coming years as a hammer breaking down the monopolistic control of the corporate media.

You started anti-war crusade in the name of freedom before Vietnam war – as a high school student. Can you tell us more about prank in Marines Recruiting Office?

That was in college in 1969 in San Bernardino, California. I had my friend, Steve Emanuel [who still plays guitar in my band!] push my wheelchair into the Marines’ office on campus so that I could enlist. Steve just stood there, forcing the recruiter to deal with me, to read my communication board, etc. I acted very serious, very earnest…so the guy thought I really wanted to join. I became upset when he told me they couldn’t take me because of my body! After all, I could push THE BUTTON with my head pointer! Only when I delivered THE BUTTON punch line did the guy know he had been had!

I am thinking about doing the prank again because Berkeley, California [where we live] has informed the Marines’ recruiters that they aren’t welcome in our city, causing a national firestorm. Things are repeating!

At the beginning of ’90 you were targeted by powerful Sen. Jesse Helms – he attacked NEA as an institution promoting “obscene” art. That resulted in your political passivity. What made you announce election start in 2006?

Above I have talked about why I entered the campaign. Besides the reasons I gave, running for President gives me a powerful tool to plant ideas and dreams worldwide which will bring about change. And this is also what happened when Helms targeted me and the other artists…and when the Berkeley City Council tried unsuccessfully to ban my public access television show. If you do the kind of work I do, you have to be ready to fight censorship. It is a part of the job, a part of the art. I’m always ready to joyfully take on the powers-that-be…to do whatever it takes. So the censors do not have a chance!

For years before Helms made his move, I had been warning the art world that it needed to take a firm and united stand against any kind of censorship…or we would face a wave of governmental censorship. This was in the era of political correctness…so I pissed people off.

So I saw it coming. But I didn’t think I would be on the front lines. I was overjoyed that I made it onto Helms’ top 6 list! I fired off my open letter to Helms and I wrote the combine plot, a detailed analysis of the attack. Both were published widely and are available online: http://www.eroplay.com/Cave/combineplot.html

and  http://www.eroplay.com/Cave/helmsopenletter.html.  Basically, because I embraced the struggle, it opened up all kinds of opportunities to me to tour, to address core issues on a national stage without compromise. Unfortunately many in the art world didn’t share this lusty attitude. Many artists signed what amounted to a loyalty oath to the establishment to get their governmental grants. This paved the way for the beginning of the government stopping giving grants to individual artists, instead giving grants to art institutions which are easier to control.

You are an author of shocking happenings, known for 48 hours long erotic ritual performances – is super liberal America ready for such a president?

We shall see! I have found that everyday people are generally much more open than the “leaders.” The platform and the ideas contained in it seem to be the “stars” of this “performance.” That is what the people are focused on. The other stuff doesn’t seem to matter. Of course if the powers-that-be deemed me a threat, the mainstream media would start using those other things to dismiss, to distract. But then it will be too late!

By the way, most people who come to our ritualistic performances aren’t shocked, but expanded.

For 40 years you’ve been living communally – with 5 other persons and 4 cats. America isn’t hippie anymore. Most people treat it like some kind of freaky thing…

Yep, for about 40 years, I have lived tribally/communally. Now the 6 of us live together in two houses [one of which we built] on a street in Berkeley with 4 cats. Linda and I have been together for over 35 years. Michael has been with us for 20 years…as have Corey and Alexi. Erika joined us 6 years ago. We live as a tribal body. This tells you that I will expand concepts such as a family and family values. My relationships have always been what I am about. So we put our personal relationships and one another first. This opens up possibilities and expands our ability to use opportunities.

Living tribally costs much less than living singly on every level. You use less gas…in fact less everything…when you live tribally. So it is one model of ecological living. Humans have lived in tribes for millions of years! In tribal families, the people have a web work of caring on which they can depend.

As President, I will encourage a society of small villages connected by mass transit. Within these small villages, people could walk or bike to work, to school, to shopping, to entertainment, etc. Mass transit will combine these small villages within 15 miles radius into dynamic communities. Living in these villages will end gridlock traffic, will cut greenhouse gasses, will cut stress and isolation. Housing for all incomes will be included equally in each village.

Most important issue of your presidency would be bringing home troops from Iraq. How important is drug legalization? Why do you think use of drugs should be legalized and taxed?

Yes, I will bring the troops home from Iraq immediately. Moreover, I will change this country’s self-image from that of THE SUPER POWER/ WORLD LEADER to that of a member of the global community.

The so-called “war against drugs” in this country in reality has been a part of a war against the people…especially people of color and on the left. 1 in every 100   Americans is in prison. This doesn’t include people in mental institutions, nursing homes, and other human warehouses. These human warehouses drain money away from education, health care, rebuilding America, etc. This also drains our communities of both actual and potential leaders of the opposition.

Prisons should be only for violent or otherwise dangerous criminals. Prisons should be a part of the health and educational system and should include drug rehab programs. This should also be true for the new creative in-community programs for non-violent criminals for paying-back, rehab, and education sentencing. These programs will be more effective and much less expensive and harmful to the community on every level than the current human warehouse system. Flexibility of sentencing should to be returned to judges. I will ban the death penalty. I will push the Justice Department to investigate the war on The Left by the F.B.I. since the 60’s.

The use of drugs should be legalized and taxed. Pot and spirits should be sold over the counter to adults only. Tobacco and other addictive drugs should be sold by prescription only. Free drug rehab programs should be readily available. These policies will deflate drug prices which are why the criminal organizations are in the drug trade.

All of this will drastically reduce the crime rate. Moreover taxing America’s number-one cash crop, pot, just makes sense.

Luver.com is your means of propaganda. You’re looking for revolutionary people – i.e. poets and musicians who want to share their art, as well as sponsors. How much does it cost to maintain 24 hour working internet radio? Who supports you? Do artists from Poland can also send you their demos or poetry?

I/we started http://www.luver.com over 9 years ago. It is one of those things that took on a life of its own. I started doing a show on one of the first internet stations. But it quickly became clear that that station was run by would-be yuppies who had unrealistic wet-dreams about selling it for a killing. So we started LUVeR just to do my show. But it quickly grew into a powerful channel for music, politics, art, whatever. At the beginning it cost us $99 a month to run LUVeR. It now costs over $700 a month when everything is added up. Commercials are taboo on LUVeR…and I don’t believe in grants. We do get some donations. But we pay for most of it ourselves. That’s the way of the underground! [Btw, that other station folded years ago!]

LUVeR is a totally new communication media which combines live streaming, on-demand libraries of programming, audio, and video. LUVeR is an anti-corporate, anti-capitalist revolution! LUVeR is and will remain a non-corporate, d.i.y., totally uncensored, noncommercial, nonprofit internet-only communal collective with 24-hour “live” programming (by amazing people) with “no-limits” content. In short, LUVeR is what THEY told us only a few years ago how the internet would be. But THEY now want us to believe that we little people can’t do this. In fact THEY are trying to force us little people off the internet, making the web just another corporate-controlled selling medium!

LUVeR is based on shows created/webcasted by individuals around the world, created from their personal passions. These individuals have total control over their shows, insuring the channel’s freedom and independence. This also insures that the channel is accessible to voices, music, creativity, news, visions, histories, etc. which have been frozen out of the commercial media.

LUVeR is based on shows created/webcasted by individuals around the world, created from their personal passions. These individuals have total control over their shows, insuring the channel’s freedom and independence. This also insures that the channel is accessible to voices, music, creativity, news, visions, histories, etc. which have been frozen out of the commercial media.

When we aren’t playing regular shows, we play The Mix…which is selections from LUVeR’s huge music library [over 110,000 songs at last count]. The Mix has both all of your favorites and d.i.y. music from the best experimental, punk, rap, hiphop, folk, bluegrass, classical, and unclassified musicians from around the world. Bands, artists, poets, etc. from all over the world send LUVeR their cds, tapes, dvds, and mp3s! SEND YOURS TO Frank Moore/Inter-Relations, P.O. Box 11445, Berkeley, CA 94712! And if you want to do your own LUVeR show, e-mail me at fmoore@eroplay.com.

Aktivist magazine – newspaper we make this interview for – is meant for young people interested in big cities culture & party life… What can you offer such people as a president?

Well, I perform in illegal underground punk clubs, artist collectives, Japanese restaurants, and other interesting venues. Among other things, I’m a singer, a musician, a poet, the host of a cable TV hard core music show, and I ran an all-ages nightclub. In other words, I am of the people culture! And you can check out http://www.eroplay.com/Cave/shaman.html#PerformAnchor and judge for yourself if I know how to party.

Since the mid-80s in this country there has been a crack down on clubs, dancing, street musicians, raves, street festivals, and in general anywhere people gather together. This is a part of the war on the people to keep us isolated from one another. Online the big record companies are trying to pull the plug on us web stations and to silence the independent bands. This is an attempt by the big corporations to rip off our culture, our music, etc. and to sell it back to us as product. As President I will return our culture, our nightlife, and our fun to their vital function of giving people places to be together, to talk, dance, and play together.

Your political statements are rich of immigration aspects. Existing US immigration policy is full of restrictions (visas, fingerprints etc.). Are you going to change that? What about visas abolition for Polish?

Yep, I believe we as citizens of the world should have the right of travel/movement. I believe we need immigrates. So I believe in fairly open borders…using our historical relationship with Canada as the model. I would remove racist filters. I would deny entry to those with criminal records. I would seriously beef up the security and inspections at our ports.
All businesses selling their products in the U.S. will have to certify that their products were manufactured in accordance with this country’s labor, wage, environmental, and safety laws … that they meet or exceed these … no matter where they were produced. This would curb people’s desire to come to this country for a better life. It would also remove the corporations’ motivation for draining jobs from this country.  Businesses would pay non-citizen workers at least the minimum wage which would be tied to the cost of living.  Businesses that employ non-citizens will have to pay $1 a day per worker to off-set the costs to the education and the health systems.

I have been trying to get two of my Canadian students into this country for over 6 months. We have jobs waiting for them. They have spent a lot of money on the process without the end in sight. The kicker is if they could pay $1,000 more, the process would be shortened to a few weeks! This simply is not right. The truth is the rich have the freedom of movement. But the rest of us are denied that basic freedom. That simply is not right!

You says: “I will change this country’s self-image from that of the super power/world leader to that of a member of the global community”. Most Americans are proud of being citizens of the super power/world leader country, don’t you think so?

Frankly it is wearing really thin here. A lot of people here are waking up!

You’ve got specific international support. “Enough of these traditional political shit!!! Regards to Frank Moore and his platform. I wish I had some radical stuff like that in every conservative country…” – how many people want to live in “your America”?

Glad to hear that I have international support! Even most people who think what I am talking about is impossible then say they want to live in the caring society. And that is a big step to bring it into reality!

Once you said lack of money is one of your strengths. Why?

Well, I don’t have to compromise. I just use creativity and improvisation to do what needs to be done. I keep everything within the scale that we can support. All of this gives us absolute freedom!

When you lost your front tooth, you auctioned it off for $250! Who bought it? Are you going to sell any other part of your body?

An artist bought it. The dentist didn’t charge me to pull it. So it was pure profit!

Which part of my body are you interested in?

Your disability made you forget about word “impossible”. If you won’t win this year, are you going to fight for presidency in 2012?

I take everything one step at a time. So stay tuned!

Aktivist March 2008 Poland – Part 1

Elections in the US are approaching fast. Although both Hillary and Barack have begged us for an interview – we refused. We’re opting for so called “third-party candidates”, people unaffiliated with neither republicans nor liberals. Are you a US citizen? Love party and weed? Vote for Frank Moore!


Thanks to Tomek Von Schachtmayer for the translation from Polish to English.


Section – Counterintelligence

MK: Lets assume I’m an American. Why would I cast my vote just for you?

FM: Because none of the candidates are sincere, they don’t want to introduce any necessary changes, and realistically support societal progress. This is just what my task is going to be. People don’t see me as a performer bound to a wheelchair, but someone who shares their dreams and speaks about things that in fact concern life. They realize that by pulling forces/efforts together we can overcome fear and isolation, abandon corporate shackles and ensure everyone’s medical care, education, decent income, reintroduce rights and liberties and bring the army back home. We have to be aware of these possibilities. Don’t waste your vote on someone who doesn’t understand your dreams, because he or she is surely not going to help you realize them.
Vote for Frank Moore!

MK: So your participation in the presidential election is not solely another performance.

FM: Every election campaign is a performance. Except it’s quite serious. My campaign started with a T-shirt. Two years ago, Michael LaBash, one of five members of our commune gave me a T that said “Frank Moore for President” as a X-mas present. I have sported it a few times, people got interested then began to ask me about my election program. It just goes to show that it’s impossible to tell which direction an art project would evolve. I don’t perform to tell stories, paint pictures, strip in public or even more so to make some dough. It’s simply the best way to create a community! In the 80’s and 90’s by using a variety of techniques I would take the audiences of my long ritual shows onto a virtual island of ‘Lila’. Out there everyone felt like a member of a family in which isolation, fear and competition did not exist. Such experience made people realize that it is possible to create an analogical community in real world. It gave hope that is associated with changes and a rise of expectations. And my presidential campaign reaches much further than those hours long rituals.

MK: Right on. You are considered as a behavioral scandalist, a shocking performer famous for parties that astonish with nudity and last 48 hours. Even America considering herself super-liberal is not ready for a president like you.

FM: We’ll see. Today’s Americans are much more open-minded than their so called leaders. My program and ideas are the clearest points in this electoral performance. People are focused on them exclusively, nothing else matters to them. Anyway, most people who come to see my ritualistic performance are relaxed rather than shocked.

MK: You say that you are a “political virgin”. History of presidential elections shows that independent newbies don’t count in the game as far as winning. Especially persons like you who cut themselves off of this whole “political world”.

FM: Do you mean that I’m not a politician, a person addicted to power? That’s right. I’ve never tried to run for office – maybe with one exception of a small episode in college. Nevertheless, I’ve always been engaged in politics in a wider, social context. Back then I’ve collaborated with independent press. History shows that for “third party candidates” the goal is not to win. Basically the electoral system is rigged to prevent us from winning. Our task is to instill new ideas, cause ferment, instigate change. In this context my presidential campaign is super effective. On the other hand… It’d be cool to defeat those suckers!

MK: You’ve been living with five people for the last 40 years. Hippie commune? It used to be cool ages ago. You will rather not impress your fellow citizens with this.

FM: Cohabitation offers various possibilities. Living in a commune is cheaper. Besides, it’s written into human history. People have been living together for millennia! As a president I will support building small, well connected neighborhoods. We’ll be walking or bicycling to work, school, or to go shopping. This way we’ll get rid of traffic jams, limit greenhouse gas emissions, stress and feelings of alienation. Everyone will be granted a housing.

MK: So back to the roots then. You’ve been excited about socialism during college, today you often use terms like “anticorporate”, “anticapitalist”. Do you think that a lack of campaign funds is your asset?

FM: No sponsors means no compromise. I set imagination in motion, improvise. I keep in mind the scale and the possibilities and do not give empty promises. All that put together gives me absolute freedom!

MK: One of your propositions is legalizing and taxing the sale of drugs.

FM: War against drugs has become a part in a bigger war against people, especially people of color and leftists. One in a hundred Americans is in prison. Marijuana should be available, to adults only. As a further matter, taxing this most demanded crop in the U.S. will bring measurable benefits. This idea really makes sense.

MK: Your propaganda megaphone is your website Luver.com. How much does it cost to maintain a 24 hour working internet radio?

FM: Love Underground Visionary Revolution was founded 9 years ago. It’s an anti-corporate, anti-capitalist revolution! Uncensored, working according to DIY philosophy, a non-commercial institution. In the beginning it cost us $99 per month, now its up to $700. We don’t have much support and we cover most of the cost ourselves. That’s what underground is about!

MK: Readers of “AKTIVIST” magazine are interested in metropolitan life and culture. What will you offer such people as president?

FM: I often perform in illegal punk clubs, Japanese restaurants and at other interesting gatherings. I’m a musician, poet, TV-show personality, I also run my own club. I know how to have a good time – I’ll send unbelievers to www.eroplay.com. Club culture, raves, street festivals, musicians… since the mid 80’s all these things have been gradually losing importance. As a president I will revive nightlife and bring it back to its old splendor. Again, people will have places to meet, talk and party!

MK: In your dictionary there is no term for “impossible”. If you don’t succeed in the presidential election this time around, are you going to run again in four years?

FM: Easy, I’ve got a plan and I carry it out step by step so be alert!


Note:
Frank Moore – performer, poet, musician, painter. He was born with cerebral palsy – he doesn’t speak and uses a wheelchair. He can communicate in a somewhat similar way to the main character in “The Diving Bell and the Butterfly” movie. In the early 90’s he was a target of an influential senator Jesse Helms who torpedoed efforts of the National Foundation for the Arts established by Frank Moore which, according to the politician, promoted “obscene” ideas. In one of the recent interviews Frank was asked a question about the difference between him and his rival candidates in the presidential election, he answered: “Which other candidate will be your homeboy?”.


See the original layout in Polish here:
https://www.frankmooreforpresident08.com/pdfs/aktivist-printversion.pdf


Read the complete, unedited interview here.

More is Moore

A review written by Silke Tudor, for SF Weekly, of a performance by Frank Moore’s Cherotic All-Star Band at Kimo’s in San Francisco, April 5, 2001.


More is Moore

Frank Moore’s Cherotic All Star Band provides nudity, music, cerebral palsy, and, perhaps, art

By Silke Tudor

published: May 02, 2001

Thursday nights at Kimo’s usually draw a small and sundry crowd that is uniquely receptive to the whims of “Hex Appeal” promoter and booker Matt Shapiro. Featuring an intimate karaoke act led by a man with a chapman stick and a video drummer one week, and a smorgasbord of black metal bands that will attract cops and noise complaints the next, “Hex Appeal” is usually interesting, but an ambiguous rumor about a midget and a “bellowing cripple” copulating during a blues song made attendance at the return engagement of Frank Moore’s Cherotic All Star Band obligatory.

For years, I’ve been vaguely aware of Frank Moore’s ritual performances and “eroplay” workshops. I’ve seen fliers hanging on telephone poles with Moore’s photographed face leering from atop a sketch of his wheelchair; I’ve come across handbills comparing Moore’s work to Warhol, Zappa, and the Living Theater, calling for “underground actresses” undaunted by nudity, eroticism, and adult play. I am aware that, in the ’70s, Frank Moore “staged” performances at both the Mabuhay Gardens and at my early punk rock stomping ground, the Farm. Since 1999, a number of artists I greatly appreciate — didgeridoo player Stephen Kent, poetry duo Attaboy and Burke, and singer/songwriter Andrew Goldfarb of the Slow Poisoners — have appeared on Moore’s 24-hour Internet radio station, Love Underground Vision Radio (LUVeR.com); and his zine, The Cherotic Revolutionary,has been lauded by Factsheet Five, SubGenius holyman Ivan Stang, and MaximumRocknRoll, and still I’d never seen one of Frank Moore’s performances. Something about the psychedelic imagery used on his fliers and the titles of his pieces — Raptures of the Tribal Body, Cave of Passion, Erotic Lava, Playing Dream Passions Naked — reminded me too much of the aborted communes and artist collectives I was exposed to as a child.


According to his memoir, Art of a Shaman, posted on his Web site (www.eroplay. com), Frank Moore was “spastic, unable to walk or talk.” Doctors suggested he be institutionalized until his unpreventable premature death, but his parents rejected the conventions of the time and raised Moore to do the same. From the beginning, Moore says, he was an exhibitionist, and his body, crippled by cerebral palsy, was ideal for his temperament: People stared. At 17, Moore learned to speak by spelling out words with a head pointer (which is how he paints canvases today), and he learned to consider his handicap a blessing. Much in the way that early civilizations thought cripples belonged to the spirit world, Moore knew that standard societal expectations did not apply to him; he was outside, in a misfit place most artists would have to struggle to maintain. In 1970, after a failed attempt at staging his first all-nude play at Cal State, San Bernardino, Moore dropped out of college and hitchhiked to Santa Fe, where a rich woman asked that he paint a portrait of her in the nude. The realization that “art gave people permission to do what was normally considered forbidden” led him to start workshops and nude rituals he called “nonfilms,” which explored the boundaries of human intimacy through nudity. The communal family that sprang up around Moore eventually relocated to Berkeley in 1975, where Moore met his life partner Linda Mac and started workshops that turned Berkeley into a strange playground of Moore’s devising: Participants buried each other alive in coffins and staged rebirths; they drank urine and launched fantasy costume parades; they staged a multimedia carnival called “The Erotic Test”; they staged theater pieces for which actors trained by working at strip clubs; they took part in political protests and benefits; they started a cabaret show, titled The Outrageous Beauty Revue, in which Frank Moore sang in spite of, and because of, his difficulty in forming words; they held public rituals during which people could “play” with each other without actually having sex. This became the essence of eroplay. In the early ’90s, Jesse Helms investigated Moore for being obscene, but that only encouraged Moore. Over the years, he has held countless rituals in the Bay Area, with each running as little as 40 minutes and as long as 48 hours.

“The difference between eroplay and foreplay is one of intent,” writes Moore. “Physically, there is no difference. It is the same pleasurable, physical turned-on feeling. But … eroplay is satisfying in itself, in relaxing intensity. There is no build-up of pent-up energy in one climactic act.”

For the tenderfoot, Frank Moore’s Cherotic All Star Band, an ever-changing musical entity, is a moderate introduction.

“I’ve played with Frank numerous times,” says Andrew Goldfarb, who met Moore through LUVeR radio, “both solo and with my band. Last time we performed was inside a produce warehouse in Richmond. We sang “This Land Is Your Land” together. Frank played piano and, even though he has cerebral palsy, it sounded like he was channeling Thelonious Monk. Frank Moore is a true American, a real example of someone who knows how to turn lemons into lemonade.”

Goldfarb recalls breaking his foot eight hours before a performance with Frank Moore.

“I was going to cancel,” says Goldfarb, “but I thought, “I’m opening for Frank Moore, I can’t cancel.” Frank has invented a new language for [public performance]. Don’t always understand what he’s up to, but he causes me to examine my notions of sexism, sex, monogamy, and the animal/psychological duality of modern living. He’s an amazing inspiration for anyone seeking freedom of expression without any physical or mental boundaries.”


Frank Moore arrives at Kimo’s with his entourage — a young five-piece band, Linda Mac, and a blind backup singer/ flutist named Teresa Cochran — wearing little more than a shirt, orange socks, and mismatched shoes. As Moore points to letters on his spelling board with lurching movements of his head, Mac interprets: “Frank says he likes people.” Moore grins through his feral beard, exposing large, misshapen teeth. His tongue lolls suggestively. Moore recommends that John the Baker take off his pants, and the small crowd applauds encouragingly.

“I’ve already seen you naked anyway,” spells Moore.

“This I gotta see,” says Cochran with a grin, her pendulous breasts swaying under a sheer garment. John the Baker disrobes and the set begins with Linda Mac singing over distorted cello and keyboard loops. Moore begins to howl, rising in his wheelchair, his back bowed with effort as his arms flap irregularly at his side. Mac smiles, swirling in her see-through robe, rubbing up against guitarist Giovanni Moro, which sends Moore into a spasm of excited grunts and wails. He grins and mugs for the cameras as the music builds. Mac lifts her skirt and rubs her ass against Moore’s lap. He rears in his seat, pushing against her with paroxysmal thrusts, matching her off-balance singing with supportive growls. Cochran lights a pipe and begins smoking as Moore’s hand lurches between Mac’s legs. The musicians play on, rolling over the stage with bluesy guitar riffs and spontaneous percussion. Cochran edges her way toward Moore’s wheelchair, feeling for Mac’s ass as Moore’s hand fumbles for Cochran’s breast. They grunt and wail as Mac continues singing and grinding on Moore’s lap. The crowd watches — some dumbfounded, some delighted — as cameras flash and Moore bellows. While Mac seems to keep the song in place, the energy of the scene escalates and ebbs along with Moore’s directing vocal rumble. His stamina is unrelenting, and the music goes on and on. I am repelled but stuck: I can’t turn away, until, finally, Matt Shapiro indicates with a flick of the lights that the set has reached its conclusion.

Satisfied, Moore grins lecherously, and Mac announces that their CD is called Dying Is Sexy.

“That’s the most punk rock thing I’ve seen in years,” says a young man who has moved to the front of the stage with a camera. “Where do you go from there?”

“Just because he’s crippled doesn’t mean it’s art,” counters another. “He might just be a dirty old hippie in a wheelchair.”

“I don’t know who’s more crazy,” says a woman standing outside the nightclub, “the people performing or the people watching.”

Frank Moore says the crazy person performs insane rituals not to express himself, but to keep the sky from falling. And the sky doesn’t fall.


Original article is here: https://archives.sfweekly.com/sanfrancisco/more-is-moore/Content?oid=2141589


Email between Silke and Frank after the article was published:

From:	"silke tudor" <silke@sirius.com>
To:	"Frank Moore" <fmoore@eroplay.com>
Sent:	Thursday, May 03, 2001 7:23 AM
Subject:	Re: just read your article

thank you for your help, it was not the easiest article I've written.

Frank Moore wrote:
>	it definately is one of the best, deepest articles written about my
>	work. you captured a lot! thank you.
>
>	In Freedom
>	Frank Moore
>	Visit http://www.eroplay.com
>	Listen to LUVeR!
>	http ://www. luver.com
>	LUVeR Alternative News
>	http://www.luver.org

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