1. What were the THREE MOST IMPORTANT things you did to get a break and start moving toward recognition as a performance artist?
2. While you were moving toward getting to where you needed to go, how did you make enough money to survive while not taking away TOO much time and energy from your creative work?
3. How do you spend your days now, mostly? e.g., approximately what percentage of each day is spent writing, marketing yourself, planning shows, arranging tours, scoping out and applying for grants, bringing in outside income, acting as a mentor to other artists, etc.?
4. What do you love MOST about doing what you do now?
5. What do you HATE most about doing what you do now?
I can only answer art is not a career not a money maker but a money taker an addiction, a life long master who does not give a flying fuck what I “THE ARTIST” loves, hates, what I want to do, where I want to go
the artist’s job is to surrender, to follow, to melt into art
making money is easy
but the river of art rarely flows
naturally that way
without damming the river up
so keep your day job get a day job you like doing because art is your mistress of night & you ain’t her pimp she’ll take your money & time she will take you into the basement of the unseen
you’ll get old with her attending her needs rocking on the porch with her no goals, no plans, no marketing, no rush.
Just rocking, just surprises everyday,
just people dropping by,
just floating without knowing,
just doing, just suffering, just enjoying.
Frank wrote a column called “Frankly Speaking” for each issue of his zine, The Cherotic (r)Evolutionary, TC(r), that he published in the 1990s. Reading through them now … they are filled with gems … and so much of it applies to right now.
This, for example, is excerpted from the TC(r) #2 “Frankly Speaking” column:
“I’m lazy. For months I have been thinking about writing about the liberal sickness called “political correctness.” This sickness fragments people into artificial groups (black, gay, women, disabled, etc.) within which they then are forced to stay. This sickness makes the individual so fragile that any “bad” or “wrong” word or image (nigger, fag, chick, cripple) can completely shatter the person. This fragileness makes it impossible to function in the real world without the artificial dome of pc-censorship. I was going to examine this sickness within the art world, using the art combine Highways/High Performance magazine as my case study. But I kept putting it off. I’m lazy. Then Curtis York’s letter fell into my hands. Now I don’t need to write that article!
Talking about pc-censorship brings us to the cartoon by the rock’n’roll artist John Seabury. We have gotten shit for running his “pig rape” drawing in this issue … from people who normally are against censorship. I’ve been thinking about why this drawing gets people so angry or uptight. I don’t think it is the images. After all, look at LaBash’s drawings. The taboo-breaking image contents are equal between them. The difference between these two artists is LaBash is nonlinear while Seabury is linear.”
And then there is this excerpted from Frank’s column in Issue #4:
“I was feeling better. Then I remembered that some “gay” bookstores will not carry T.C.(r) because it is not “queer enough”! It doesn’t matter that about eighty percent of our contributors consider themselves gay or bi. It doesn’t matter that some of the works focus directly on “gay” reality. It doesn’t matter that T.C.(r.) has always been included in the queer zine scene. And it does not matter that I am a lesbian in a male body.”
This is the very first “Frankly Speaking” column. It appeared in Issue #0. Frank thought that Issue #0 was totally self-promotion so he didn’t put it on the website and it wasn’t available to buy! We have just added this column to the site. Issue #0 will appear in the compilation book.
SPEAKING FRANKLY Editorial by FRANK MOORE April 10, 1991
At first look, this first issue of TCR looks like a shameless self-promotion, a big advertisement for my book, Cherotic Magic, for my apprenticeship, for my 6-session course, for my performance art and videos and tapes, and who knows what else. Well, you have to start somewhere. And that somewhere is the exploration of the magical edge I have been on for about 25 years. This promotion that we call TCR is a promotion of the edge itself.
Since Cherotic Magic was published, there has been a written dialog centering around the book. What is exciting about this dialog is that the people in the dialog are serious explorers of the edge themselves. They are writers, artists, publishers, cultural revolutionaries, reality subverters around the world. In this issue, under the cover of writing about my work, they talk about magical issues that I for one have been hungry to talk about for a long time in the depth that is possible with people who have committed their lives to going across the taboo border to effect evolutionary change. In future issues of TCR, I hope we will move far beyond the book, Cherotic Magic, and give one another aid and comfort on the edge by linking together, by announcing new findings of our hidden experiments of nonlinear change.
TCR is a journal of the edge. TCR is an offensive movement or measure, offering alternatives to the fragmentation, isolation, personal helplessness which is actively promoted by the combine of power systems. TCR is anarchical, based on the personal responsibility to reshape reality into a more human, trusting, loving reality, full of fun and pleasure. TCR is not a reaction. It is a magical act of enjoying life. It is a journal of and for people who are doing this magical act. Thanks to S/R Press, we finally have a channel of communications among the personal revolutions … otherwise known as mutations … which has always been the main fuel for evolution. Now we magical misfits know we are not alone, that there are others out/in here/there feeling, thinking, trying, doing similar things. This just by itself should speed evolution up.
Frank’s announcement for his performance at DADAFEST 2003:
THE SHAMAN’S SHELTER FROM THE STORM DADAFEST, July 11 & 12, 2003 Somarts Gallery, S.F.
For this year’s DADAFEST, I’m doing the longest continuous performance I have attempted since the 48-hour DYING IS SEXY in Toronto in 1999.
From midnight Friday July 11 to midnight Saturday…within the madness that is DADAFEST…I will be in THE SHAMAN’S SHELTER FROM THE STORM, giving out magical mantras and secret gestures, doing pantanic rituals, conducting deep core music, going into trances of controlled folly, etc…all to give people WHO DARE TO COME IN magical ways to survive the upcoming TOTAL DESTRUCTION OF “CIVILIZATION”! bring your bodies, musical instruments, voices, and desires to jam with me for an hour or 2, or to spend the night with me, or to just peek in, or totally lose time itself!
THE SHAMAN’S SHELTER FROM THE STORM will be somewhere in THE SOMARTS GALLERY, 934 Brannan. s.f.
Frank wrote this after the performance:
Sunday, July 13, 2003
Well, we here are recovering from this weekend’s DADAFEST. It was quite amazing. It was much closer to the true spirit of dada than ever before. Katy and Blue took risks and by most accounts we were getting within the cave, most of the artists [and most of the audience] rose to the higher level. I can’t judge because I was in the cave for most of the 24 hours. But that was the buzz and the vibe of it. But the fact that they went outside of the socially acceptable time frame lost them press coverage and the Beach Blanket Babylon crowd. But to the dada credit of Katy and Blue…and almost everyone else…this wasn’t seen as a negative, but getting back to the dada roots. If they do it again, they now will have a good base. Just on the level of the sheer work and organizing of doing a 24-hour event that created a large and relaxed community of artists, it was quite an impressive undertaking that worked!
For this year’s DADAFEST, I did the longest continuous performance I have attempted since the 48-hour DYING IS SEXY in Toronto in 1999. We made an intimate cave out of a great portable 10×10 gazebo and the LaBash backdrops. When needed, Mikee and Linda would go out people hunting, coming back with willing victims. I lost my band that would have been outside the cave for the whole 24 hours, attracting people and would have provided just one more continuous thread to the piece. But as it was, these people hunting expeditions were rare because there was a person in the cave…if not a wild scene/happening…most of the time.
We had this sign on the cave:
Enter THE SHAMAN’S SHELTER FROM THE STORM, inside the shaman is giving out magical mantras and secret gestures, healing by touch, talking beyond frames, doing pantanic rituals, conducting deep core music, going into trances of controlled folly, loving, listening, laughing…all to give people WHO DARE TO COME IN magical ways to survive the upcoming TOTAL DESTRUCTION OF “CIVILIZATION”!
When someone came in, I asked him to read one of my poems/writings of his choosing. This became a powerful ritual because people chose things that spoke right to them, reading whole new dimensions into the poem than were there before. This ritual reminded me of tarot readings or casting the I-Ching. At times, these readings developed a community spirit that exploded pure raw dada chaos out-of-control magic…especially when the FLUFFGRRL crowd held court in the cave.
Then I asked the person to do a random gesture/act, drawn from a magical bag. These acts range from “easy” to explicitly intimate. If the people were a couple, I asked them to do a gesture together, and together with me. Most did these rituals.
Musicians kept dropping in to jam for a while. Friday night Dr. Oblivious, Nate Scott, Fluff Grrl’s Bob and Pervertidora Records’ Chris [A.K.A. GOD] jammed. Then Bob and Chris segued us into a twisted Cheech and Chong flick, in a failed search for more beer, and a match for the only joint, dropping Bob’s burnt hair all over my cave as Kaosmic Kitty showed us her nazi clit as she and I rubbed thighs as Bob sucked my cock as Chris informed us he is having a breakdown because he is off his meds as Bob obsessed on Linda’s hairy bush and the lame dada going on outside as dawn broke. There was no lame dada inside the cave!
I took a break from the cave to take part in THE CULT LEADER CONTEST. Among my disciples were Katy, Fluff Grrl’s Bob, and Michael Peppe. What can I say? I simply was the only real cult leader there!
Kirsten arrived Saturday afternoon after traveling since the wee hours across the country. We started a 5-hour pantanic dance as Linda and Mikee kept the cave within the ritual reality, which was a challenge because that was when a lot of people came through, each reading my writings extremely deeply to the dance…when Peppe and Andy Poisoner with Ronnie played music…when the Fluff Grrl crew with Joanna camped out in the cave.
The pantanic dance was extremely physically challenging, requiring a committed focus over hours to melt everything down to an explicit, slow, small, human, warm intimacy that was generated between Kirsten and my skin through dancing/rubbing. At one point, about 3 hours into the dance, it was necessary to take everyone out of cave and limit it to people coming in for the first time. At another point in the dance, it seemed to be extremely difficult for people to stay in the cave to observe the dance. This was because they were, through the dance, directly experiencing unlimited intimacy [which is quite different than sex]…and they found themselves in the state of pure dada…and they ran…but carried with them the virus of new possibilities. A DADA SUCCESS!
In 1988, Frank was one of a few artists who was invited by High Performance magazine to contribute a statement on the subject of “The Function Of The Arts In Culture Today”. Here is the piece that Frank wrote:
Art can be to pacify, to make money, to decorate, to entertain. But I am committed to art as an underground war against fragmentation on all realities. This should be the position of avant-garde art. The goal of this art should be to create alternatives to the fragmented society.
As artists our tools are magic, our bodies, taboos and dreams. We need to be warriors who will go into the areas of taboo, will push beyond where it is comfortable and safe. We must be idealists, willing to live ideals.
In the past 20 years, the calling of art has become the career of art. The passion and idealism became the studying of the trends of what will be “in” next. The passionate vulnerability that creates magic was replaced by a cool and clever intellectualism. We got seduced by high tech…seduced by the modern media, by the quest for large audiences.
Performance is being ruined by trying to package it as off-beat cabaret entertainment. Some performance fits into this slot. But when most performance is forced into neat cabaret format, making performance acceptable and profitable, performance becomes a hip form of nightclub watching, groovy TV watching. Performance is being limited in time and space for acceptability. Performance is in danger of becoming society’s lapdog, instead of a magical lab.
Art is the way society dreams, the way society expands its freedom, explores the forbidden in safety. Society needs its dream art, just as an individual needs to dream or go insane. Our fragmented world needs taboo-breaking dreams to get back to freedom. Our society is at a fork in its growth. It can go deeper into high tech impersonal isolation, or it can rediscover the magic that happens when physical and emotional humans actively and directly link up with one another. Art can either just follow society, recording the trends, or it can take a pathfinder role. We artists must not make cynical statements from our inner worlds about how fucked up the rest of society is. We must create alternative community realities in which people can be actively involved.
Here is the letter they sent inviting him to contribute:
Here is Frank’s article as it appeared in the magazine:
When Frank received the NEA Fellowship in 1985, one of the requirements was that we keep notes so that Frank could submit a diary at the end of the Fellowship year. We got a marble copy book and labeled it ART BOOK with the dates of the fellowship. I had forgotten about all of this, but in the course of digging through our archives to try to figure out where we kept info before we were using the computer to log everything in, we found the ART BOOKS! We kept using the ART BOOK as a way to keep track of all of our “art” activities, starting a new one as we filled each old one, with 1995 being the last year logged in.
After a weekend full of books, as Performistanbul Live Art Research Space, we will start to share our archive collection with you!
Our archive aims to hold 7000 resources that consists on the contributions of international performance artists and the materials that will be purchased with the donations. We are approaching our goal day by day, with getting various types of archive material donations. We want to thank the artists who remind us that we are not alone by sharing their archive with us.
You can stand by our side on the road of achieving the goals of our archive and Research Space, with your donations!
We begin with the archive of shaman / performance artist Frank Moore, one of the most extensive donations we had so far! Our Frank Moore archive consists of books titled “Chapped Lap”, “Cherotic Magic”, “Frankly Speaking”, “Art of a Shaman”, “Skin Passion”, “Deep Conversations in the Shaman’s Den – Volume I” along with dozens of various other archival materials such as booklets, manifestos, posters and postcards. In the meantime, dozens of soft copy materials of unprinted documents including more than 500 performance videos are added to our digital archive collection.
When Performistanbul Live Art Research Space (PCSAA) reach its goal, all resources will be available for the use of visitors!
With each donation, we are getting one step closer to fill our shelves with books. With your donations, you may contribute to this journey and stand by our side!
We would like to offer special thanks to Linda Mac & Mikee Labash.
I have always been lucky. I have a body that is ideal for a performance artist. And I have always wanted to be a performer. When I was a kid, my younger brother used to get mad when people looked at me when he pushed me to the movies or to the teen club. He cried. But I liked people looking at me. That is what I mean I am lucky. I am lucky I am an exhibitionist in this body. One time, I was working out on the jungle gym outside of our house…a kid came by and asked if I was a monster. I just roared like a monster. It was fun…I started to see my body as a tool. I could get away with things that others couldn’t.1
humor and an infectious smile Frank Moore (1946-2013) navigated the world in a
body of which he had only minimal control. Born with cerebral palsy and unable
to walk or talk he used a wheelchair his entire life. When he was seventeen, he
created his own personal communication system by strapping a pointer to his
head which allowed him to point to letters, words and phrases on a board, and thus
he was finally able to break out of his isolation and communicate with the
But Moore did
not let his disabled body hamper his path through life, and his obituaries
detail the myriad creative activities that he was engaged with including a long
career as a performance artist, a shaman, poet, essayist, playwright, painter,
musician, Internet TV personality, a 2008 presidential candidate and co-editor
of the zine The Cherotic (r)Evolutionary amongst
a host of other activities.2 Along the way Moore also completed a BA
in English (1972, University of New Mexico), an MA in Psychology (1976,
University Without Walls, Berkeley) and an MFA in Performance/Video (1983, San
Francisco Art Institute). Mention should also be given here to Moore’s longtime
partner Linda Mac and fellow collaborator Michael LaBash,
both of whom were key partners, and collaborators in helping Moore realize his
ideas and projects during his years living in Berkeley, California.
This text concentrates on only one thin slice of Moore’s extensive activities and that is his role as co-editor with Linda Mac of TheCherotic (r)Evolutionary, a zine that they published in Berkeley in nine issues (#0-8) between 1991-1999.3
Looking at the
inaugural issue, it is interesting to note that the first piece of news in
Moore’s editorial concerns the recent publication of his book Cherotic Magic (1990), which is an introduction to the shamanistic
apprenticeship that he was offering at the time. Moore admits to this
“…shameless self-promotion…for my apprenticeship, for my 6-session
course, for my performance art and videos and tapes, and who knows what
else.”4 Throughout the life of the periodical, Moore would use it
as a distribution outlet for the varied products of his assorted activities.
About the magazine Moore states in the first issue:
TCR is a journal of the edge. TCR is an offensive movement or measure offering alternatives to the fragmentation, isolation, personal helplessness which is actively promoted by the combine of power systems. TCR is anarchical, based on personal responsibility to reshape reality into a more human, trusting, loving reality, full of fun and pleasure. TCR is not a reaction. It is a magical act of enjoying life. It is a journal of and for people who are doing this magical art….Now we magical misfits know we are not alone, that there are others out/in here/there feeling, thinking, trying, doing similar things. This just by itself should speed evolution up.5
that the magazine should provide a network of support for these ‘magical
misfits’ is coupled with his larger vision of this movement, about which he
states “I think it is very important that there be a Cherotic Movement,
not unlike the so-called Sexual Revolution of the Sixties. This Cherotic
Movement would be (or rather, is) a physical/spiritual movement that re-defines
and expands sexual, spiritual, social concepts of reality.”6
This latter statement outlines the core themes that would form the basis of all
of Moore’s work in various media, and they would provide the links to all of his
different activities throughout his career. On the definition of a “cherotic
(r)evolutionary” Moore wrote, “…Chero is the physical life energy.
I created the word “chero” by combining “chi” and
“eros”. And revolution is the mutation stage/phase in the process of
evolution…so an erotic mutant for life!”7
The most direct
way through which Moore offered interested people an experience of the cherotic was through his performances,
in which the audience was invited to actively engage in what he called
‘eroplay’. Eroplay is another word that Moore created to describe the
experience of “…intense physical playing and touching of oneself and
others. Eroplay is also the force of energy which is released as the result of
such play”. Moore emphasizes that “eroplay is not foreplay, even
though foreplay is eroplay…” and further that “Foreplay leads to
orgasm…eroplay leads to being turned on in many different ways in all parts
of the body,” and he concludes “Eroplay is the blissed-out, warm,
relaxed, turned-on, totally satisfying feeling of a good head rub…eroplay is
that intense feeling throughout the entire body”.8TheCherotic
(r)Evolutionary would be one of the mediums through which Moore
communicated his expansive philosophy of the cherotic, and he challenged his
readers to become ‘revolutionaries’ in this radical movement to reshape, and
expand our physical, spiritual and sexual lives.
In Moore’s editorial for the second issue he expands upon his editorial position and in his desire to keep TheCherotic (r)Evolutionary an open and freewheeling place he states what the magazine is not going to do:
…we will never do theme issues such as poetry, gay, sex, women, etc. This is because the theme format is a great way for editors and galleries (etc.) to keep control of content, style, point of view, and the accessibility of the communication channels they manage. The theme concept also fragments both people and dialogue into labeled bits that can be shuffled in and out of fashion time. TCR will follow the magic wherever it non-linearly goes. We will print what we like, what interests us…9
Moore was always alert to the ways systems oppress and suppress, even within the context of magazine publishing, and all nine issues of The Cherotic (r)Evolutionary display a comfortably unruly aesthetic that embraces a wide variety of artists’ works, poetry, writings by Moore and others, and reviews of his performances and publications.10
What’s in a Name?
Before I explore the contents of the periodical there are two subjects that I want to address, and the first is the name of the periodical. A look at all nine issues reveals that the periodical’s name for the first five issues is The Cherotic Revolutionary and from the sixth issue the title has been changed to The Cherotic (r)Evolutionary. In editorials for issues #3 (1993) and #4 (1994), Moore spells the name of the periodical “The Cherotic rEvolutionary” with a lower case “r” and the title on the covers reflect this emphasis on the “R” by printing them with a screen that distinguishes the letter “R” from the rest of the word. By issue #5 (1995) the title of the periodical is The Cherotic (r)Evolutionary. In his editorial in issue #3 (1993) Moore explores the background around the eventual name change:
There are changes around here. Well, what do you expect from a zine with “revolution” in its last name? And that may be one of the changes…our name appears to be in the process of changing itself from The Cherotic Revolutionary to the Cherotic Evolutionary. A revolution is a mutation from the normal as-is reality, an experiment and adventure in newness. The purpose of a revolution, and any mutation, is to break new ground for evolution…to prod evolution along.11
The second subject, and question that I want to explore is, what to call this periodical? In the first two issues Moore describes it as both a ‘magazine’ and a ‘journal.’ In the third issue he refers to the periodical as a ‘zine’ and by the next issue zine is used not only in the editorial but in the masthead for all futures as well. It’s perhaps unsurprising that this new descriptor also parallels the period when the title of the periodical was in flux. I would agree with the use of the word ‘zine’ to describe this periodical, as its anarchic, and low-tech production, certainly displays all the features of a periodical published by enthusiasts and non-professionals. However, at one level Moore’s original use of the term ‘journal’ is also appropriate as well. Journals have historically been the site where the activities, and research of specialized groups was communicated to their professional community. Moore, in his editorial for the first issue, describes the periodical as being just such a place, albeit comprised of an ‘unprofessional’ community, but with the same theme of sharing their research within this group. Moore writes that the periodical will provide a site for this community to address:
…magical issues that I for one have been hungry to talk about for a long time in the depths that it is possible with people who have committed their lives to going across the taboo border to effect evolutionary change. In future issues of TCR, I hope we will move far beyond the book, Cherotic Magic, and give one another aid and comfort on the edge by linking together, by announcing new findings in our hidden experiments [my emphasis] on nonlinear change.”12
Inside the (r)Evolution
All nine issues of The Cherotic (r)Evolutionary present a smorgasbord of works by a variety of writers and visual artists, and the following overview includes the names of the more frequent contributors in different media. The periodical publishes a wide range of writings including poetry (Jessie Beagle, Robert Howington), reviews of the periodical, Moore’s performances and other events (Kyle Griffith, Barbara Smith), texts related to shamanism (Kyle Griffith, Brenda Tatelbaum), personal stories about sex (Carol A. Queen, Veronica Vera), performance art (Annie Sprinkle, Karen Finley, Linda Montano), sex and spirituality (Chief Distant Eagle), and disability issues (Steve A. Brown). On the visual front the periodical is copiously illustrated (Michael LaBash, John Seabury, Brian Viveros), and throughout there are black and white photographs, and featured portfolios (Tony Ryan).
technical side, The Cherotic
(r)Evolutionary was a photocopied periodical and beginning with the third
issue was published by Frank Moore’s and Linda Mac’s Inter-Relations, their
publishing arm that took over from the original publishers, S/R Press.
Coinciding with this issue was their acquisition of a Mac computer, and with
Michael LaBash as art editor, the quality of the overall design improves
substantially, and would continue throughout the life of the periodical.
However, even in the final issue (#8, 1999) where the design is at its
tightest, there is still an element of the early anarchic quality that grounds
the periodical within the larger history of zines. The periodical was an annual
publication with the exception of #1 and #2, both published in 1992.
At the back of
each issue is information about acquiring previous issues of the magazine as
well as details about other products available from Frank Moore’s assorted projects.
Later issues also included a page that featured readers’ and advertisers’ works
and products, as well as their contact information. The periodical ceased
publication when Moore and Mac started their internet radio station LUVeR (Love Underground Visionary
(r)Evolution, and “We were just too busy to do both…”.13
Following from this brief survey of the periodical’s contents, I want to examine a number of specific aspects of the periodical that play important roles in the periodical’s nine-year lifetime. One theme that resonates powerfully throughout the periodical is censorship, in particular Frank Moore’s experience of it during the ‘culture wars’ that were raging during the periodical’s early years. I will also examine two other important elements of the periodical, specifically Michael LaBash’ illustrations, and Moore’s written contributions.
The theme of
censorship appears in the first few pages of issue #0 (1991) by way of an
article by Jack Helbig that first appeared in The Chicago News & Arts Weekly (Oct. 11 – 17, 1990) titled
“Outlaw Artists, Porn? Play? Or Immoral Plot”. In his article Helbig
summarizes the recent conservative attacks on artists doing edgy performance
works and the fact that they had all received grants with taxpayers’ monies.
Helbig concentrates on Annie Sprinkle, Karen Finley and Frank Moore, and he
outlines the cases that Senator Jesse Helms and Representative Rohrbacher
launched against what the late conservative art critic, Hilton Kramer, described
as these “New Barbarians”. The censorship wars of this period raged across
the artworld and nobody in this community was unaffected by this controversy.
Artists doing provocative works were an easy target for conservatives in
whipping up hysteria about the use of public funds for this type of ‘pornography’.
Sadly, they were ultimately successful in changing the granting process in
order give local communities a greater say, and control, over who did and who
did not receive grants. Attempts to cut the amount of funds provided annually
to the NEA (National Endowment for the Arts) were ultimately not successful,
but within this hostile climate there would be no move to increase the funding
Further into the above issue #0 (1991) Moore publishes an open letter to Jesse Helms and demands to have a dialogue with him writing “Why are you closing channels of expression and funding to me without due process of law?” claiming that this campaign is a way of smearing the artists’ reputations and thus making them “…untouchable, unfundable, unbookable”.14 Moore concludes his text with one final address to Helms stating “If you have anything to say to me or to ask me, come to talk to me man to man. Otherwise, get your Big Brother foot off my back”.15 One result of this controversy is that in future issues Moore would feature the works and writings of both Annie Sprinkle and Karen Finley, and in issue #3 (1993) six pages and the cover are devoted to the work of Sprinkle, including also Veronica Vera’s important Post Porn Modernist Manifesto (1989).16
Michael LaBash’s Artworks
One vital and
eye-catching feature of The Cherotic
(r)Evolutionary are the illustrations that are featured in all the issues
of the periodical by Michael LaBash. The artist was one of the intimates within
the family group that formed around Frank Moore, and Moore always spoke very
fondly of this indispensable member of the cherotic team. LaBash’s drawings are
powerful, humorous and slightly creepy works in which naked people couple and
engage in all sorts of surreal ways. Hands and body parts couple with all sorts
of real and imagined bodies, and their assorted orifices.
The first two issues of The Cherotic (r)Evolutionary feature LaBash’s works on the front covers, with all subsequent issues featuring his works on the back covers, and they provide powerful visual equivalents to Moore’s eroplay teachings.17 LaBash’s works are also found inside the periodical where they are published in a variety of page sizes, as well as being used as illustrations for different submissions. As one of the consistent features of the periodical they have a very powerful visual presence within the periodical, and they seem to merge with the periodical’s larger project, becoming in the process visual talismans for the cherotic (r)evolution.
Frank Moore’s Writings
It goes without
saying that Moore’s writings would form a key part of the periodical. Each
issue includes an editorial by Moore about the contents of the current issue as
well as other pertinent themes and subjects. There are three reviews by Moore
of different printed matter publications, as well as his own writings which are
represented by fourteen texts spread out over the life of the periodical.18
proportion of Moore’s writings explain and expand upon his key concepts of the cherotic (r)evolution and eroplay. In
“Nonlinear Bits” (#1, 1992) he writes that “The cherotic
revolution is an evolutionary movement, an anarchistic way of change, in which
the single person is the center of the creative force”. In the second
issue he examines a theme central to his practice under the title
“Cultural Subversion” (#2, 1992) and he recounts his rejection of
politics as “…a means of effective subversive change…” and how
this led him to begin “…looking towards art and magic for an effective
channel”. Coupled with this vantage point he describes how, as an artist
with very limited funds, he became a “no/low tech artist,” and the important
role his access to this personal technology played in his work, stating “This
no/low tech form is vital to work which is culturally subversive by expanding
the concept of sexuality and reality beyond the frame of taboos”.
important text in issue #3 (1993) titled “Frank Moore’s Philosophy of
Art”, he gives a very succinct account of his philosophy writing “I’m
not interested in doing art that comforts, decorates, entertains…I’m trying
to go back to the time when art was the magical, irrational, non-logical
channel of active impact…”. Further into this text Moore takes a
personal turn when he writes “In this kind of art, my body gives me a
definite advantage. It links me to the wounded healer, the deformed shaman. By
combining this with performance tactics, I combine realities to create awake
detail different aspects of his philosophy including a text on the importance
of the open mike as a democratic channel (“A Rant On An Open Mike,”
#6,1996), and with “Their Cuddling Cocoon” (#6, 1996) he describes
the bodily sensations that are experienced during eroplay. Other articles deal
with issues related to his practice, like ordinances regarding nudity in the
town of Berkeley, the larger field of performance art, musings on the nature of
fame, and an interview with his counter-cultural hero and journalist Paul
Krassner, former editor of the Realist
A word that regularly appears in Moore’s writings about his practice is the word “channel,” and he uses it to describe his view that art and magic, are important channels in assisting the individual in their personal evolution. I would like to propose expanding the use of this term to include Frank Moore’s own physical body, as the indispensable channel through which he developed his unique philosophy of art, and accompanying performance practice. Furthermore, The Cherotic (r)Evolutionary can be understood as playing a very similar role in Moore’s work, which is reflected in his editorial in #5 (1995) where he addresses his take on the functionality of the periodical, “i realize that i and this zine are just middlemen, just a pipe. when art goes through the pipe, that is when the pipe is important…not before or after”.
been immersed in The Cherotic
(r)Evolutionary over the past month, I have to conclude that the most
extraordinary thing about this zine is, that it exists at all! With Moore’s restricted
mobility, it required a number of extra hands to design, publish and distribute
the periodical, and this is what his dedicated family unit was able to provide
him. However, the contents of the periodical were Moore’s decision, and they
reflect a savvy intelligence in propagating his philosophy, and teachings on
the art and magic of living and loving. Despite his uncooperative body, Moore’s
sharp mind was laser-focused on achieving his cherotic (r)evolution, and the zine brims with this burning desire.
For the nine
years of its life The Cherotic
(r)Evolutionary would be a virtual home for Moore’s “magical
misfits”, and it functioned exactly as he had hoped for in his first
editorial in #0 (1991) as a place where this community could come together to
“…give one another aid and comfort…”19 and also to “…know
that we are not alone, that there are others out/in here/there feeling,
thinking, trying, doing similar things.”20
powerful theme that runs through all of Moore’s writings and activities is that
of ‘communication,’ and the zine would be one of the many channels, or media,
through which he was able to satisfy his desire to be seen and heard. From the
seventeen-year old who devised his own low-tech pointer communication device
and breaks out of his own personal isolation, there was no holding him back. A
key philosophical, and practical strategy was his appropriation of the new
personal technologies, all of which would become key elements in his role as a
‘no/low tech artist’ who was committed to using this ‘anarchistic technology’
for his own cultural subversion.21 A prime example of this approach
was Moore’s use of the photocopy machine to publish the entire run of The
I have noted earlier, Moore understood The Cherotic
being a part of the advance guard of the Cherotic Movement, a movement which he
likened to the Sexual Revolution of the 1960s. Within this larger context The Cherotic (r)Evolutionary can be seen
as continuing the longstanding tradition of artists’ periodicals that
accompanied all the avant-garde movements of the 20th century, serving both as
indispensable players in communicating avant-garde intentions, and in this case
preparing the way for the cherotic
The Cherotic (r)Evolutionary at its core, is about healing the body politic, about mending the “…fragmentation, isolation, personal helplessness…” of contemporary life and creating “…a more human, trusting, loving reality, full of fun and pleasure.”22 It is not without irony that the messenger, and teacher of this healing message, was someone whose own body was so severely disabled, and yet it was this same body that was the channel through which this “wounded healer…deformed shaman,”23 would develop his profound philosophy in which The Cherotic (r)Evolutionary would function as one of the spear tips of the cherotic (r)evolution.
Moore, Frank, “Caves,”
Berkeley, 1987, no pagination.
3. Some basic information about the periodical. All nine issues were photocopied, with the first four issues printed in standard letter size and side stitched. The remaining five issues were photocopied in the tabloid size and then folded, and saddle stitched.
The page numbers for each issue vary from 24 – 38, with an average of 31. The covers of the first four issues were photocopied onto different colored papers with the insides the traditional white. The covers for the last five issues were printed on tabloid size white card stock, and coupled with the saddle stitching, enhance the overall look and feel of the periodical.
The first three issues (#0, 1991 – #2, 1992) were published by S/R Press (Luna and Kyle Griffith) and from #3 (1993) onwards it was published by Inter-Relations, which consisted of Frank Moore and Linda Mac as the publishers/editors. Print runs for
#3 (1993) was 300 copies, and by #6 (1996) it was 500 per issue, and continued until the last issue #8 (1999). Extra copies of individual issues were printed on demand. There were a few paid subscribers, and coupled with the contributors the readers were from all over the world.
Source for the above information was an email from Linda Mac (4.1.2019).
Below is a listing of the issues and their publication dates. Vol. 1, #0, April 1991 Vol. 1, #1, January 1992 Vol. 1, #2, July 1992 Vol. 1, #3, April 199 Vol. 1, #4, 199 Vol. 1, #5, October 199 Vol. 1, #6, July 1996 Vol. 1, #7, May 1997 Vol. 1, #8, April 1999
4. Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.
5. Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.
6. Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 12.
Moore, Frank, Editorial, The Cherotic Revolutionary, Vol. 1, #1,
1992, p. 3.
10. In the interests of authorial integrity I should state that I had an article of mine published in the final issue of The Cherotic (r)Evolutionary (Vol. 1., #8, 1999) titled “Assembling Magazines,” (1997).
11. Moore, Frank, Editorial, The Cherotic Revolutionary, Vol. 1, #3, 1993, p. 3.
It’s interesting to note that further into this editorial Moore credits Kyle Griffith as the person “…who pushed for the publishing of the book [ed. note Cherotic Magic, 1990]…and then strongly suggested we come out with a zine.”
12. Moore, Frank, Editorial, The Cherotic (r)Evolutionary, Vol. 1,
#0, 1991, p. 2.
13. In an email from Linda Mac (4.1.2019) she recounts the larger story around the periodical’s demise, writing:
TCR was going strong when we stopped publishing it and we loved doing it! What stopped it was our starting, LUVeR (Love Undergound Vision Radio, later changed to Love Underground Visionary (r)Evolution). And that is a story in itself! We were just too busy to do both, so we stopped doing TCR.
14. Moore, Frank, “An Open Letter to Sen. Jesse Helms,” The Cherotic (r)Evolutionary, Vol. 1, #0, 1991, p. 24. Other artists attacked by Helms & Co. were: Holly Hughes, Tim Miller, John Fleck, Johanna Went and Cheri Gaulke.
Ibid., p. 24.
16. The text of Veronica Vera’s Post Porn Modernist Manifesto (1989) is
LET IT BE KNOWN to all who read these words or witness these events that a new awareness has come over the land. We of the POST PORN MODERNIST MOVEMENT face the challenge of the Rubber Age by acknowledging this moment in our personal sexual evolutions and in the sexual evolution of the planet.
We embrace our genitals as part, not separate, from our spirits.
We utilize sexually explicit words, pictures, and performances to communicate our ideas and emotions.
We denounce sexual censorship as anti-art and inhuman.
We empower ourselves by this attitude of sex-positivism.
And with this love of our sexual selves we have fun, heal the world and endure.
17. One commentator on LaBash’s works is Barbara Smith, and in her review of Moore’s book Cherotic Magic in issue #0 (1991) she points out the discrepancy between Moore’s definition of eroplay as an activity that does not lead to orgasm, and the fact that many of the figures in LaBash’s works do indeed illustrate this kind sexual activity. I too share this reservation, but within the broader reaches of what this periodical is about can reconcile their subject matter within Moore’s larger philosophy.
Below is a listing of Frank Moore’s
writings in the periodical:
Editorials One in each of the 9 issues
Reviews #5, 1995: Annie Sprinkles Post Porn Modernist #6, 1996: Barbara Golden Multimedia Package. #7, 1997: Tony Ryan Photobook.
Texts #0, 1991: An open letter to Sen. Jesse Helms #0, 1991: Museum of Lovemaking #1, 1992: Nonlinear Bits #2, 1992: Cultural Subversion #3, 1993: Frank Moore’s Philosophy of Art (1987) #4, 1994: Tribal Performance (1992) #5, 1995: Interview with Paul Krassner #5, 1995: Magical Masks in dialogue with James Audlin (chief distant eagle) #5, 1995: In Defense of Bad Art (1993) #6, 1996: A Rant On An Open Mike (1995) #6, 1996: Their Cuddling Cocoon (1995) #7, 1997: Mainstream Avant-Garde (1996) #8, 1999: What Price Fame? (1998) first published in Performance Journal #16, Spring 1998) #8, 1999: Out of Isolation (1986-1994) Insert in this issue as a small 8-page pamphlet.
19. Moore, Frank, Editorial, The Cherotic (r)Evolutionary, Vol. 1,
#0, 1991, p. 2.
20. Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.
21. Throughout his career Moore worked in a wide variety of media including: radio, video, zine publishing, TV, performance art, writing, and he was a musician, painter and publisher of books.
22. Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2. 23. Moore, Frank in The Cherotic Revolutionary, Vol. 1, #0, 1991, p. 2.
Evolution searches out potential Within every life form, Within every experiment, Flowing through change, Flowing through adaptations Into new possibilities.
This tide wave Moves everything, Shapes everything, Leaving everything Which doesn’t find The ever changing Potential within its soul Behind… Just didn’t live out Within the dynamic dance Of existence. Failures are the golden steps Of expanding creation.
But we civilized humans Have been denied For most of the blink Of our history Most of our potential. The tide wave Has been dammed up, Evolution has been funneled Down into a narrow, High pressure laser Focused for profit and power Of the hidden few.
Most of our potential Is locked in, Locked away, Locked out, Locked up. Locked away in closets, Locked up in factories Of meaningless work, Locked away in warehouses Of waiting to die… Death waits A dull lifetime to come. Locked outside the margins, Locked outside on the homeless streets, Locked inside the suburbs of isolation, Locked within the walled communities Of comforting unreasoning fear, Locked up within well-paid sitcoms, Locked out toiling in the fields, Not allowed to eat the food, Dying in the false famine, Dying from thirst In the African dust Manufactured from bottled demand, Dying from sickness Preventable, Curable, Locked away within The dark other, Locked in the kitchen Cooking artificial food Of bland pretending Routine not fulfilling Any need or love, Locked down in chains On the sofa, On the shrink’s couch absorbing unattainable desires, Locked in gridlock, Not coming, Not going, Just sitting within Unmoving isolation, Listening to the latest muzak Of loveless loneliness, All shining and cold, Locked away In the passionless bedroom With the glass ceiling, Tied down in the bed of hopelessness, Tied down, Locked up in the nursing home, Lifetimes of wisdom Dismissed and forgotten, Locked up in padded cells, Dangerous healing imagination Being burned up by electric shock, Burning up the trash that could Save us all. Locked up on Death Row, Within the isolation cells Lies change. It will not die, Even under tortures Of ten thousand years. Just lock it up! Dam it up With the oily gum Of dogma! Manufacture fear and mistrust Of the other of difference. Pour the many flavors Of this poison Of bigotry From childhood In mother milk, In God’s image, On the blackboard Of coloring within the lines… Lock what’s acceptable, Normal, Within the lines… Then send these good citizens Off on crusades of killing Of the different other, Of killing off diversity Which is the curse Of profitability. The brew of bigotry Blinds the eyes to red is the color Of all human blood, Blinds us to We all are locked in Locked up, Locked away On the plantations Of slavery, In the sweatshops Of suppression, In the factory farm fields Of exploitation, In the occupied territories Of closing walls, Of refugee camps Of wandering Jews, Of death camps, Warehouses of all kinds Filled with waiting-to-die Living hopes, dreams, Loves, imaginations, Cultures of the human spirit Which do not fit into power, Wealth, and the controlled reality.
Yep, we all are in there, Including most of you Who believe you are The masters and the guards In your dank cubbyholes Of fears and addictions.
And within our cells We have been digging Throughout the ages Underground passages Linking passions together. When we reach to touch one another, The bars melt like butter. We sing together In words that the masters Can’t understand. We create together, Dream, imagine together. We hope and make love Together behind the dam In evolution.
The silly mentally retarded girl Giggles as she runs to hug An absolute stranger. This is hope Of evolution. The police hose fires High-pressure profits Blasting of shortages Through the dam’s hole… Business as usual. But it looks like evolution Is about to burst through the dam. Will it destroy all of us? Who knows! We always have lived With Dooms Day Judgment Day Around the corner. Sometimes it came, Sometimes it didn’t.
But I’m betting That our underground potential Will be released in the coming flood And will expand.
But then This is written by A guy Who was supposed to have died LONG AGO In one of those death cells!
After 9/11/01 and the move to war, Frank looked at his oil painting, HELL TO WAR, hanging on our wall, that he had painted in high school in the 1960s, and decided to do a digital version so we could put it up in our yard!
He ended up doing four digital paintings over the course of six days:
HELL TO WAR – September 17, 2001
HELL TO ALL TERRORISM – September 19, 2001
WAR IS TERRORISM – September 20, 2001
PEACE FLAG – September 22, 2001