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

Author: mikeelabash (page 1 of 17)

Art of Living

From Frank Moore’s book, The Art Of Living, 1974.

You and your group take yourselves much too seriously and don’t take your lives seriously enough.

You must do what most people want to do — to do in their dreams, but they dare not bring down into reality. A few men have done what you are about to do, but they are exhibitionists and egoists, little men trying to project illusions to show their contempt for their fellow men. One of their motives is pride. But what is really driving them is fear — fear that behind all of their illusions there is nothing. So while daring to stand out in an extreme way, they don’t dare to drop their illusions and stand naked as themselves, in their selves. They live out of fear and doubt as much as the masses of which they are so contemptuous.

You must not live out of any kind of fear. If you do, you are not who you say you are and will not do what you said you would do. These people whom we have been talking about take their illusions very seriously, believing their illusions are their only selves. They have lost their real spirit, or life, in the reflections of reflections, the thought forms of their egos, their brains. Now you see what I mean by “don’t take yourselves so seriously, but take your lives more seriously.”

Now it is time for most of you to create an illusion to walk about in the world. It is the same process that you used in spirit after you chose the thought form of your present body. After all, your body is an illusion that you created yourself after you and the thought form were matched up. Now you are creating another illusion using thought forms. But your spirit must do the creating, and not your ego or brain. This is what is hard for most of you to grasp. You are told you are the only one who can create you, who knows what you require, and that you owe nothing to anyone else save love. You take this as a command to do what you want, what makes you “feel good”. It does not mean this. Your wants can make illusions without, if you please, a “zipper”. You get trapped in it, having to tear your way out finally, bruising yourself in the process. The illusion that you are creating must come out of you and not out of your wants or from what you think you should do.

What you have created may appear to be taking you into hardships. As soon as I say this, some of you think you have to have hardships and pain, and will start creating hardships and pain for yourselves. This is not what letting you create means; you are just creating another zipperless illusion out of which you will battle. You have to create an illusion that is like clothes that you can put on to deal with the world, and that you can take off to play naked with your friends. If you can’t take the illusion off, you had better start ripping it off because you are trapped, no matter how fine the illusion may be. As the body is still there when it is clothed, you are still there under the illusions; it is impossible to create an illusion as beautiful as you. Know this because it will save you time.

• • • • • •

Use your own judgment when you listen to what I say. Believe only what feels right to you.

• • • • •

Your group will be concerned with the creativeness which is in every human, every spirit. This creativeness is truly the God who is the reason for all life. This is so obvious. But Man has rarely understood the process of creating. He starts, let’s say, a painting with a set idea of what he is going to paint. Sooner or later he makes a “mistake” — a color or a line which doesn’t fit in the original idea — which “ruins” the painting. When this happens most people give up, thinking that they are not cut out to be artists, and withdraw back into the common existence. Others try to pretend that they didn’t make the mistake, that the color or line isn’t there on the canvas. They go on painting as before. When they are done, they have painted the shadow of what they wanted. Moreover, this shadow is covered with a haze. Others keep starting over whenever they make mistakes, not accepting any mistakes. They are rewarded for their endurance with the perfect copy of the thought form which they had held for all this time. They are rewarded by what they think they want to create. Their thought form has been brought down into the material plane. The creation is perfect. But it is not a masterpiece. It is perfect within the limitations placed around it by the rigidness of the artist. The work is perfect, but not free.

A masterpiece is perfect and free. The master artist paints an adventure in color, words, or notes. What others see as mistakes, he sees as challenges, boxes out of which he has worked as the basis on which he creates a totally new, fresh pattern. These challenges, boxes, keystones, keep appearing as he works, demanding the artist’s flexibility. If the artist looks back, trying to hold on to what he thought the painting was or would be, he gets trapped in a box out of which he must battle or be turned into a rigid, bitter pillar of salt. The artist has to keep his whole attention on the swirling colors in front of him in order to be the creator.

To create a masterpiece, the artist has to use and risk every bit of himself. But he also has to create with God, for God is the one who creates what most people call mistakes, and that the master artist sees as his tools and materials. God does not create for the artist. God just provides the tools, the guiding bumps. It is up to the artist’s free will whether he creates or gets dragged down by the weight of the tools. When the artist is creating, he feels no weight.

The most important masterpiece is a lifetime. This is a statement of hard fact. Creating a masterpiece in every day living is governed by the same rules as creating a masterpiece in paint, but much harder because the artist is also the canvas. In every period of time, in every land, there are a few masterpieces of art and writing. But a masterpiece lifetime is much rarer. Moreover, there has never been a time on your world where there has been a society where masterpiece lifetimes abound.

Art of Living
A guide to down-to-earth spirituality as channeled by Frank Moore.
published 1987

Introduction to Cherotic Apprenticeship

by Frank Moore, 1991

breaking taboos releases a magical freedom if done in certain contexts. this is true and important, but only in the first stages of magical training. taboo can be defined as social or moral forbiddens which maintain a dogmatic power structure by fear of what is outside that structure.

the things that are taboo, and hence are magically charged, in the normal social reality, are not taboo in the reality of the magician. there are no taboos or morals within the reality of the magician. for example, when i eroplay with someone, the eroplay itself is not taboo or transformative for me. the being with the other person in the eroplay is transformative, but not in the taboo dynamic. for me, eroplay, ritual reality, etc. is just everyday living. magicians will not do a lot of things, but this is never from a taboo/moral consideration, but from a practical ethical knowledge of how things work.

in what i do, breaking taboos is important in the first stages. in the public and private performances, as well as in my short-term work with people, breaking taboos plants seeds and time bombs, cracks the normal frame to let in a glimpse of an alternate reality.

but within the apprenticeship, there comes a time where, if the student relates to the magic life as breaking taboos, rather than as her everyday life, it becomes clear that she is taking a vacation from the normal social world, rather than truly living beyond taboos as her own personal reality.
the first ring of the chero apprenticeship, introduction to cherotic magic, lasts for 10 weeks. i meet with the student once a week for 2-4 hours. (for someone who lives outside the bay area, this ring can be done as a 10-day intensive.**) this ring focuses on the cherotic basics of the magical work. this is done one on one, focusing on how the student can use these basics in her life even if she does not go on to the advanced rings.

the break between each ring has proven to be vital. the minimum break period after the first ring is a month. there is no commitment to return from the break.

the second ring, practice and performance of cherotic magic, is 6 months. this is an intensely physical training, which includes both public and private ritual. this training will affect every aspect of the student’s life profoundly.

the third ring, living magic, is 2 years and is focused on the student’s devoting his life for the 2 years to the aiding of the shaman in the magic work. because of this, during the break between the second and third rings, after the student hears the calling for this devotion, he should arrange his personal life to make this devotion possible.

beyond these first three rings of magical training lie four deeper rings into the realm of the responsibility of the shaman. but it is important to stress that each ring is complete in itself, reaching a different level of shamanism.

**the out-of-towner may stay at the ashram/salon of all possibilities during this intensive. subject to availability.

Brochure cover art by LaBash

An update of the last 37 years of my life

Ok, here it goes…fast forward through the 35 years since Debbie and I left the community. A bus ride to D.C. to her family…the Jewish mother-in-law from hell [years later she sicked a hit man on me!]. I quickly called my friend Moe…whose head shop was in that book I was writing and which is lying unfinished in a trunk….but I did turn the material I was “channeling” into a book art of living. [The metaphysical writing is in the same trunk.] Moe rescued us and put us on a plane to San Francisco. The first person we ran into as we stepped off the airport shuttle was another of my college friends who put us up for the night. The plan was for Debbie to go to the S.F. Art Institute [where I would go years later]…but she couldn’t get in. After a week getting kicked out of rooms [crips weren’t in fashion yet], we boarded a bus to Santa Fe before we ran out of money. Santa Fe is where I lived before I went to the community. We got into Santa Fe at 4am without any phone numbers of my friends. But a friend drove by and saw me…and woke my dear friend Louise up. She picked us up. We stayed with her for a while. But to get Vocational Rehab money, I had to get back into college. So we moved to Albuquerque, staying with my friend Steve in the mountains until we found a room in town. My channeling made a spiritual community interested in me…until my muckraking nature raked up muck! I got my B.A. much too soon in terms of our money. We met Jo who we became intimate with. We three moved back to Santa Fe, where I got into an intensive film course. We met Ray. We four got married. After the film course, not having money to make films, I did nonfilm performances. I also started a drop-in workshop combining theater, ritual, intimacy, eroticism, etc. A community began to develop out of this. I began doing all-night audience-interactive ritual performances. We moved, with some of the workshop people, to N.Y.C. to continue the work in a loft off of 5th Ave. Both Debbie and Jo were pregnant. Louise flew out to deliver the boys at home after the hospital wouldn’t let me even on the ward [again before crips were in fashion!]. The boys came three days apart. We raised them tribally…the sanest way! They are in their 30s now…one is becoming an acupuncturist; the other is a musician and an instrument maker. After they were born…and after I did 2 nights of ritual performance in a ballroom…the tribal we moved to Berkeley…after a short attempt in San Bernardino. There I got a motor wheelchair. Imagine me mobile, driving myself all over the bay area, driving into all kinds of adventures. I even drove into a travel agency and met a sexy travel agent Linda who quickly quit to be my partner in crime for the last 35+ years!

A guy who saw a flyer for my workshop came to check me out. He didn’t want to do the workshop. But he did want to come to me for weekly individual sessions where I kicked his ass about his relationships and his life…and he paid well! He turned out to be a psychic teacher. All of his students and clients wanted to see me! For a couple of years I worked 8 hours a day and had two weekly workshops going. Although I always charged just what the person could afford, money was good, especially when they started moving in with one another and came as households! I even got a masters degree just by documenting this work. But problem solving was boring. I wanted a community of deep intimacy. So I demanded more. A community of 30 in several households emerged. Sound familiar? Also quite a few successful businesses came out of this sexy coming together…not to mention a few millionaires [never me!]. We won a legal battle with the I.R.S. over getting church status. They were saying we didn’t believe in a God. We had to go to D.C. with my channeled and metaphysical writings and the A.C.L.U.! But Inter-Relations was born, which has made doing the work much easier.

I started putting on events like free concerts and sexy parades, and directing plays at our storefront. I also started doing 48-hour improvised performances. Everything was small and underground. But then I directed what was supposed to be a one-night-only wacky tacky sexy take-off on beauty contests, the outrageous beauty revue, at the S.F. punk club the Mabuhay. The room held 500. It was packed. The first two rows were photographers and reporters [we were on the third page of the next day’s S.F. paper]. Scary! The club’s producer made me announce that it’ll be a weekly show. So it became the ever-evolving early show every Saturday night [and often Thursday too] for three and a half years. So we opened for EVERY punk/hardcore/whatever band! And we got international coverage of all kinds…magazines, t.v., films, etc. I had to work hard to not let it get big or lose its edge…to keep it underground where you have the most effect and freedom…just popping up everywhere to interject bits of subversive alternatives. At the beginning, I was not in the show. But I started worming myself in. I added a live band, the superheroes…of course I was one of the lead singers! The band started getting gigs at other clubs. And we opened our own club, the blind lemon, in Berkeley. But by the second year of the show, the community began to decay. It took years for that painful process to play out.

In the meantime, I started making small films [after walking out of a “real” film deal!] and mainly put them in the closet…waiting for the internet and public access t.v. to give them outlets! The first film, Fairytales Can Come True, even was distributed. In the meantime I went to the S.F. Art Institute graduate program for “performance/video”. I/the work freaked them out bad! But Linda and I stuck it out for two years…which landed me a cover story in the major performance art magazine… which made me the darling of “THE ART WORLD” for at the most two years, until they figured out I wasn’t a nice safe thankful crip artist, but an artist who pushed limits. But during these two years, before the art world blacklisted me, Linda and I started touring the U.S. and Canada, doing both the long ritual performances and singing gigs. I also started being invited to lecture at colleges. I was one of the featured performance artists in the film Mondo New York. I also kept making videos [directing, acting, editing, even creating musical scores and Linda doing the camera work]. I began a performance series at the University of California. This series, which lasted for three years, gave me a lab where I could improvise/jam with other artists/musicians. When I got on the art world’s blacklist, I moved into poetry readings and other underground worlds. But then Sen. Jesse Helms got me back into the art world’s graces, kind of, by including me on his list of six targeted performance artists whom he considered obscene. That opened more possibilities for touring. I rode that pony for all that it was worth!

My writings, as well as articles about my work by other writers, began to be published in a wide range of magazines and books. In the early 90’s, I began to offer shamanistic apprenticeships. My book, Cherotic Magic, came out of this. By this time, the community had shrunk to our household of five and the two boys. And even in our house, the original vision, principles, etc. had faded. Linda and I finally moved out…in with two of my apprentices, Mikee and Alexi. Debbie and the two others of the old household went into walking around town nude as The X-plicit Players.

I continued performing, directing, touring, etc. But we also started publishing an underground zine, The Cherotic [r]Evolutionary which became very popular…which ain’t saying it was a profit-making thing! The Work has always been a holy addiction that we pour money, etc. into to create community and to effect social change. We jumped into the web full force when it was born. FreespeechTV.org gave me free unlimited space to put up videos and audio content …that lasted for years! We put up the works of other artists as well as our own work. Our site, eroplay.com expanded and expanded. Over 7 years ago I started doing a radio show the Shaman’s Den, on a web station. But my muckraking their ambitions to make it big didn’t sit well. They suggested not politely that I start my own web station. So we did within a week. luver.com started with a live music show web casting from Japan, followed by my 2-hour show on Sunday nights. But LUVeR quickly evolved into a radical 24/7 station with all kinds of music, news, whatever shows. It became a black hole for our time and money, forcing us to stop publishing our zine. In about a year LUVeR started webcasting video as well. My show started to be a video show of me either talking to a very interesting person or of bands from all over the world playing live at our house. Then I started doing shows on Berkeley’s cable public access station. I use the shaman’s den shows as the base of these cable shows, but throw in videos of my live performances, films, concerts, erotic explorings, poetry readings, whatever. For a year the City Council tried unsuccessfully to get me off the air. But now I’m on the channel every night of the week, up to 6 hours a night!

Now we have two houses on the same street. I live in the “Purple House” with Linda [we have been together for over 35 years!], Mikee [who has been with us for over 15 years,] Erika [who has been working with me for 5 years and moved in over a year ago], and three cats. And in the “Blue House” Alexi lives with Corey and Cookie the Cat. The two houses are on the same block. We designed the Blue House, and Alexi and Corey basically built it. Alexi learned construction by working for a company that grew out the community of 30. We have set him up with a successful handyman business. Corey works at the natural food store around the corner. Through it we have started an international food testing project for GMOs. Erika has become the director of enrichment at a large retirement community, injecting our sexy subversion in there. Linda, Mikee and I work at home keeping everything going. Mikee does the tech and graphic stuff [which, btw, he is available for hire cheap!]. Linda does all the practical stuff that makes everything possible. And me?…a cult leader always with big ideas! We are a good team, a tribal body.

Hey, I just found out that we are putting on a LUVeR benefit at the illegal infamous historical hardcore dive burnt ramen with my jamming erotic band the cherotic all-stars in May. Not bad for a crip turning 60 in June! True, we have pretty much stopped flying to places touring. But there is no sign of slowing down!


Frank Moore March 2, 2006

From the book Frankly Speaking: A Collection of Essays, Writings & Rants by Frank Moore

“An update of the last 37 years of my life”
written by Frank Moore, March 2, 2006.
Read by Attaboy.
Background music by Sander Roscoe Wolff.
A segment from the web video series LET ME BE FRANK, Episode 6: https://frankadelic.com/episodes/episode-6.html
Watch episodes of the series: http://frankadelic.com/

River Vision

by Frank Moore, Sunday, March 21, 1999

People sometimes ask,
“Where is your work heading?
What do you want to do next?”

It is not my work.
It is not my choice.

For me,
it is not a question
of a next thing.
It is a growing,
evolving vision.
I am carried along
in this vision
of life,
of art.
A performance does not have
a beginning
or an end.
It is just
a tiny bit
of the vision.
The vision braids
around itself,
flowing on. I do not know
where the vision
is taking me. I have not been down
this vision before.

One thing’s for sure. We humans
are not the end
of evolution.

“Sunset Rise”, digital painting, 2010 by Frank Moore

“Pure” and “Applied”

Excerpt from Cherotic Magic Revised, “Reality Shaping”, Section 15, by Frank Moore.

In the primitive world, reality shaping was the function of magic and of the shamans. The shamans used rituals and myths as dream boats to travel outside of the normal frame of reality into the web of all possibilities to communicate with the gods and to shape reality for their tribe. Sometimes through the myths and rituals, the shamans took the whole tribe into the web. But often the shamans went deeper into the web alone…alone because of the increasing dangers that exist in the web. This magical activity was seen by the tribe as vital to their survival. The shamanistic activity was not limited by the reality frame, by what was practical, although the practical reality was shaped by the shamanistic activity. As a result of these common mythical journeys, the frame was very flexible for all in the tribe.

But this began to change in the modern cultures, especially in the West. The shamanistic activity began to divide into philosophy, religion, art, science, and the occult. Each of these areas began to subdivide into sects, schools, disciplines, mediums, etc. They also divided into “pure” and “applied.” “Pure” activities are done for themselves to explore, shape, create reality, to travel outside the normal frame, to capture possibilities not enclosed within the frame, to bring these “new” possibilities into the frame to magically widen or shift the frame of reality.

The “applied” activities try to use, to control, harness these new possibilities into the service of the established frame. This is the washte brain activity. In the modern culture, the pure activity is seen as being of value only as it relates to the applied activity. This severely limits the magic change of reality shaping which is what the pure activity is meant to be. What also limits the shamanistic magic in the modern world is the fragmentation of the pure activity. There is a holistic myth developing in science, in philosophy, in art and theatre, in religion, in psychology, in the occult. But this myth cannot get into the frame because the modern myth travelers are talking, thinking, and seeing in different technical languages, depending on their fields. Because of this, they do not realize they are visualizing the same myth. So the new possibilities contained in this myth cannot get through except in fragments.

Artwork from Cherotic Magic Revised by LaBash

#totalitarianstate PT. 2

In March 2001, Frank Moore started using the song “Fuck The War” as the closer for his “Frank Moore’s Unlimited Possibilities” public access cable TV show.  Shortly after 9/11, the singer/songwriter of the song “Fuck The War”, asked him to stop using it. He honored her request and instead played this clip:

From Frank Moore’s Shaman’s Den with Lori B, January 16, 2005:

Frank: I will not use names, but I lost my theme song.

Linda: We had a theme song for a while for this show, and we lost it because the singer songwriter …

Frank: “Fuck the War”.

Linda: It was called “Fuck the War”. That was the song. And it was right after 9/11 or shortly after that, the singer songwriter contacted us. She knew that we were using it. It was actually … we used her singing it from when she was on the show.

Frank: She wrote it before all that.

Linda: Yeah, actually we started it as a theme song before all that too. And so at the point where all that started happening was like, oh, my God, the song is so …

Lori: Why did she pull the song?

Linda: She was concerned that somebody would go after her for it.

Linda: She said, I’m sure you’ll understand. And we said, no, we don’t understand!

Frank: And now I just sing it.

Linda: Right. So now we actually stopped it when she asked us to stop it. But at a certain point, Frank said, you know, I’m just going to sing the song, we need to have it back. So it’s him naked at a punk club singing the song. And that’s the footage we use as the close of our cable show.

Frank: But she moved.

Linda: She was not native to the United States and she moved back to her native country.

Lori: I see.

Frank: Because …

Linda: Probably from fear, I would imagine. I mean, the last we heard from her, it seemed like that’s what she was involved in. Fear.

Lori: Oh my God. Fear.


By Frank Moore
Wednesday, June 01, 2005

the ghostly fingers
of abstraction
are cold oatmeal.

those hands
of wind
can not touch
or hold.
they go right thru you…
not very fulfilling
not very satisfying

time to get out of that room,
time to stop waiting

“Flower Power”, digital painting, 2010 by Frank Moore

From the book Skin Passion by Frank Moore.

Wacky Racers

In 2007 Frank was contacted by journalist Ravi Somaiya who wanted to do an interview for The Independent about Frank’s presidential campaign. He also contacted and interviewed Frank’s running mate, Dr. Susan Block. We never saw the article in The Independent, but we found it in The Age (theage.com.au) in Australia. Below is the excerpt from the article about Frank’s campaign.

Wacky Racers

Ravi Somaiya, The Age (Australia, theage.com.au), December 9, 2007

Forget Hillary and Barack. The real characters vying for the Oval Office in next year’s US presidential election are the wackos, the zealots, the eternally optimistic and the latest round of former Hollywood stars.

FRANK MOORE Independent

Most shrewd political advisers would counsel against appearing naked except for your shoes and socks and having a girl grind up and down on you. But performance artist and quadriplegic Frank Moore isn’t following the usual advice.

He’s known as the “Stephen Hawking of performance art” and communicates, like the esteemed Lucasian professor of mathematics, with a pointing board. His vice-presidential candidate is Dr Susan Block, an internet and telephone sex therapist who also hosts an explicit cable and internet TV show.

“Define ‘win’,” he says through his interpreter when I ask about his chances. “I have already won. You are talking to me. It’s not just a publicity exercise, but (an effort) to get the issue talked about in a real way.”

His policies include abolishing welfare and social security in favour of a $1000-a-month payment for every adult; free education and healthcare for all; a flat-rate tax of 10% for earnings up to $1 million, with a 75% rate on earnings above that; and halving the military budget.

“I suppose at first it’s kind of funny,” says Block. “Here’s this quadriplegic artist and a pretty outspoken sex therapist who likes to dress up in lingerie. But I think when people read our platform they’ll find there’s a lot of sense in it. Right now, some politicians are sexually repressed and channeling their sexual energies into big phallic bombs and war and destruction.” Make love not war, indeed.

The Frank Moore for President 2008 campaign at the How Berkeley Can You Be Festival 2007.
From left to right: Mikee LaBash, Linda Mac, Alexi Malenky, Frank Moore, Corey Nicholl, Erika Shaver-Nelson.

Read the original article here: