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

Category: Performances (page 1 of 5)

SCORE REVIEW 6

ON FRANK MOORE’S PERFORMANCE AT THE LAB, JULY 23, 1988

By Crag Hill

This was a night for statement. An artist had been locked out. Because he was too old-fashioned? But why were ninety percent of the people passing by Frank Moore’s performance outside The Lab reacting as if they have never seen any of this before? Who is the audience? Other artists? Art hobbyists? An initiated elite? He was too old-fashioned for whom? Too avant-garde for whom? Too famous for whom? The fact was the performance of Frank Moore’s group (and others whom I will mention shortly) shredded the boundaries of what one does in public, what one does on the street. They were dressed in tights and sweat-clothes with holes cut in them for easy access while skin-drumming. Who does this business-as-usual? There was touch, sound, and sight (for all you addicts of visual stimulus, the performers were painted and/or wore painted clothing), but it was not an everyday touch or sound or sight; it was an intimate touch, an ecstatic sound (a harmonic pitch almost sexual, but something even more satisfying), a welcome sight. The overall effect of Moore’s group was a breaking down of separation, a drawing together. Those who were courageous enough to be present, to stay present, became equal with everyone else, not one, yet closer. Who cares if it’s “art”? It was genuine. At its best it far transcended aesthetic pretensions and all that flapdoodle. I might call it spiritual if that word weren’t so smudged. It activated parts of personal humanity that usually lie dormant, ignored, discouraged, and repressed. Frank Moore’s performance might have been cancelled by this venue, but that was only yet another obstacle for Moore to leap. If you know anything about him, as a victim of cerebral palsy, you are amazed at his leaps. If you’re not, let this quote from the Village Voice serve as an introduction: “In performance, Moore takes advantage of his disadvantage, becoming an unlikely guide into the pleasures of the body, taking audiences places they would probably never go without the example of his vulnerability and trust….that Moore would be the one urging us to stay connected with our physical selves is both ironic and poetic….”

Also appearing on the bill (on the street) were The Outpatients, Jack and Adelle Foley, and Jesse Beagle. The Outpatients protested with a picket march, chanting “All we are saying is give brains a chance,” and a rollcall of lobotomies with an extra emphasis on “art-scene lobotomy.” They topped off their appearance with an energetic version of “Mennonite Surf Party,” which included a searing Rock-and-Roll riff on classical guitar by Tom Hamill.

Jack Foley, appropriately, read his poem “Nightmare,” which is dedicated to the man who tackled him as he read his poetry in a San Francisco gallery. He too knows the thoughtless knocks, the censorship, of an often selfish art world. He also read a chorus or two with Adelle Foley, keeping the street charged with energy.

Jesse Beagle also contributed appropriately to the demonstration/performance. She sang a couple of songs with the spirit, the spunk, of protest, and read a trenchant commentary on Frank Moore’s Café Milano (Berkeley) performance. In effect, she berated the café-goers for their passivity; they only became interested in Moore’s performance when they heard the moaning sounds, and, taking two stairs at a time, only then did they try to peek.

All in all, these people responded strongly, cohesively, to the lockout of Moore. Frank Moore came to do what he had been invited to do (before The Lab cancelled for spurious reasons—they were rude to boot), but on this occasion, on Divisadero, it seemed to have an extra charge. The Lab missed out, but fortunately many people on the street did not.

SCORE REVIEW is a forum for ideas on books, performance, elections, and what not. It appears when it has something to appear with—contributions are welcome and needed. Oakland, California.


Photos from the performance outside The Lab.

The original newsletter


And of course, as everybody knows who has ever played at games, the ones that are the most fun – to lose as well as win – are the ones that are the hardest, with the most complicated, even dangerous, tasks to accomplish. And so it is that artists are generally not content, either in the Orient or in the Occident, with doing merely simple things – and much soon becomes simple for an artist that for the rest of us would be difficult. The artist seeks the challenge, the difficult thing to do; for his basic approach to life is not of work but of play.”

Joseph Campbell, MYTHS TO LIVE BY, page 126.

REVIEW OF FRANK MOORE’S “PASSIONS PLAY” PERFORMANCE By STAVROS KRYSIAK

Saturday March 7, 1992, FauxReal, Oakland, California.


Flier for the performance by LaBash

I, STAVROS experienced a unique event, in which I was shamanized by Frank Moore at an event billed as the “Passions Play.” I met Frank on GEnie, where I learned that Frank Moore had been investigated by Jesse Helms. I was intrigued with Frank’s posts about his Shamanistic Art, and when the opportunity came for me to attend his Passions Play, I couldn’t resist. I had to go to find out what a Shaman was and what he did.

On Saturday March 7, I drove to Oakland, to an artist studio located on the waterfront near Jack London Square. I knew at once that I was at the right place when I saw a woman standing in front of a building with a blanket. Frank had instructed us to bring a blanket.

I entered the studio where I could hear a man singing. It was a chant and his voice would move from high tones down to low ones, as he periodically slapped his body to the mantra he was singing. He was naked. His body was covered only with body paint, as were two other painted men, who walked around those of us sitting on the floor. They moved ever so gracefully and ever so slowly.

After about a half hour or more, one of the men came up to people sitting on the floor and ask them if they wished to be prepared to see the shaman, who was in his cave. The cave was behind the curtain in the front of the room. At this point, one couple decided this wasn’t for them and they left the room, never to experience the visit to the shaman.

Those that elected to go were taken in pairs. They were first blindfolded. Before they were led to the front of the room, where the entrance to the cave was situated, they were kissed on both cheeks.

We could hear weird sounds coming from the shaman in the cave. A very beautiful naked woman, who was also decorated with body paint came out of the cave. She walked up to the blindfolded participant and gave instructions. They were given a cup containing a magical formula, which tasted mysteriously like water. This, they were told, would release their inhibitions. Then they were taken to the cave.

Some would come back sooner than others. Some came back naked, others fully dressed. One young man hadn’t come out yet, when it was my turn. He was one of the first to go in. After drinking the magic formula I was lead into the cave. My instructions were not to speak in words and only in sounds.

When I left the cave I was instructed to go back to my nest and not to reveal what had happened in there. And I will not break that word even for this review.

After I came out, I was asked by an elderly gentleman if it was a positive experience. I gave him a thumbs up. Later, when he came out he gave me the thumbs up sign.

After all had entered the cave and returned to their nests, we prepared to see the shaman. Until this moment I had touched Frank Moore and had written to him on GEnie but I had never seen him.

The Shaman enters and he is placed naked in a wheelchair. Before my very eyes is that great intellect I have come to respect on the GEnie Bulletin Boards.

Then to the tune of music, he made the most God awful animal sounds and grunts. There was a happy smile on his face. I had read other reviews of his work, where they refer to Frank’s grotesque body, but I couldn’t see the grotesqueness. I saw a very happy person.

Frank was later strapped into the wheelchair. They placed a head band on his head, which had a pointer attached to it. In front of him there was a word board. Frank, who was born with Cerebral Palsy, couldn’t control the muscles of 90% of his body. He cannot speak and using the only muscles he can control, his neck muscles, he communicated to us much like he communicates on GEnie, only using the word board instead of a keyboard. It’s his survival in this state, as a happy being, that gives him the power to be a shaman.

We then followed his instructions and prepared to die, so we could be reborn. As I laid on the floor, death visited me and took off my clothes. I was prepared to be reborn. About 40 naked bodies huddled together in the center of the room. It was a cool evening and the body warmth of skin against skin brought warmth to each of us in our bodies and in our hearts. A group of adult men and women were playfully pretending that they were these creatures of evolution. Bodies were rubbing against bodies. Not since I was a naked babe, have I remembered my sense of touch being so fulfilled. My cup of the delight of touch had runneth over. We were single cell beings, multiple cells, seaweed, ants, birds, and other creatures until we evolved to that human form of a child, who was ready for eroplay.

Eroplay is a word coined by Frank Moore. It is a non-sexual but erotic playing. Unlike sex there is no climax. Magically, we were brought to the place where we were ready to be taught eroplay.

We were broken up randomly, mostly into pairs, but some in threesomes. The pairs would be a man and a woman, two men, or two women. At random times we were randomly moved to different partners. We received random instructions to rub your belly, or rub your partner’s belly. Rub cheeks. Rub butts. Lay on top of your partner touching their whole body with your whole body. Embrace and rock back and forth. Touch genitals.

Then we watched the great shaman perform the most erotic eroplay with a woman. In all my life I never have seen anything as erotic, as that woman playing with Frank. We were mesmerized, as he played with her. Strobe lights flashed as assistants came out and covered us with Saran Wrap and foil. It was a sight to behold, as we engaged in spontaneous eroplay under a blanket of wrap, which connected us all. By the end of the evening I found myself filled to capacity with the child-like eroplay. It transformed me to another world. I broke taboos I never dreamed of breaking. It felt good. It was a safe place for all of us.

I said good-bye to the shaman at about 3 AM. As I was ready to leave I stopped to watch three men engaged in eroplay. It was beautiful. I felt beautiful, the shaman was beautiful. I exited the magical cave and entered the world of taboos, left with the memory of a magical experience that will be with me forever.

Thus Stavros was shamanized.

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!