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

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Category: Posters

Eroplay & the Cherotic All-Stars

This is an excerpt from the conversation between Christian Lunch (aka Xtian) and Frank on Frank Moore’s Shaman’s Den, December 9, 2001, right after the Fuck The War Ball at the underground punk club, Burnt Ramen in Richmond, California. Xtian performed with the Cherotic All-Stars that night. He was also at that time the sound guy at the Stork Club in Oakland.

Xtian: Well, I think the wonderful thing about eroplay, when you see it live is that, if you’ve never seen anything like that before, it’s like, hey, it’s a bunch of dancing girls … or, it’s a bunch of chicks, wow. This is cool, man. Let’s watch this! And the thing about it is there’s also that … um … it’s like it’s generating an erotic energy, but it’s being channeled towards something really powerful, like I said before. That’s the thing that makes it unusual. And it would shock a club owner but it turns the stage into performing, into a ceremonial space which is … I suppose the club people would be upset if you’re turning their club into a church. Maybe that’s what they are bugged about.

Frank: I am sneaky. It looks like rock.


Frank wrote this about the Fuck The War Ball performance:

Well, this was the period when I was producing a lot of music shows at the infamous illegal underground punk club BURNT RAMEN. This was the last two acts of a very long show. Traditionally my band closed the shows. Also, traditionally I cherry picked musicians from the other bands of the night to be in my band. But this show the musicians kept leaving during the show [the club was in the most dangerous neighborhood]. So at this point when I was the next act, I had no band except for Xtian [aka Christian Lunch] and a flock of nude women. So in the middle of Extreme Elvis’ set [which I consider one of the top five performances of ALL rock ‘n’ roll history!], I asked Elvis if I could borrow his band. So our two sets melted together! Btw, we performed in what normally passed for the GREEN ROOM there because that was where E literally pitched his tent!

The Art Outlaws

Poster by LaBash

Frank Moore wrote:

After so-called feminists tried unsuccessfully to stop the booking of this show because they thought my art was somehow sexist, this show marked the transition from me singing to corny records [which I had been doing since THE OUTRAGEOUS BEAUTY REVUE broke up in the early eighties] to jamming. In fact, this could be considered the first CHEROTIC ALL STAR BAND. Barb Golden of THE WIG BAND opened up the night. Her sax player Toyoji had played with John Cage. I did backup vocals for her in her set. Then she played keyboard in my band with John Seabury of THE PSYCHOTIC PINEAPPLE [which formed after they saw my OUTRAGEOUS BEAUTY REVUE] on guitar. Before the show I tried to get Toyoji to play in my band. But he shyly declined. However in the middle of the glorious erotic chaos of the set, he crawled on the stage and got more and more uninhibited!

Left to right: Frank Moore, John Seabury, Barb Golden
Mikee LaBash and Frank Moore. Toyoji Tomita is at the far left on the stage.
Linda Mac and Frank Moore perform “Ruby”
Linda Mac and Frank Moore perform “Ruby”

Fantasy Costume Parades

An excerpt from Frank Moore’s book, Art of a Shaman, Chapter 11:

Public performances naturally evolved from what was created from the workshop. The first major public piece was a fantasy costume parade through Berkeley, flaunting brightly painted skin and see-through costumes of net and lace. The parade ended up with a free punk concert in the park. I have talked about how my art is not made of separate public pieces but is an evolving monster. For example, in this parade, an inner character of one of the cast members, Diane Hall, emerged (photo below). This character was a middle-aged, middle-America-on-acid, fast nonsense talking, dizzy dame in a skin-tight Frederick’s of Hollywood gown, long fake eye lashed, and a two-foot beehive bleached blonde wig with blinking Christmas lights. This creature grabbed the mike away from the hippie M.C. Wavy Gravy, and started hosting the concert. A year later, when I needed a bridge between a wacky stage show and the audience, I brought back this Woolworth babe.

Wavy Gravy
Diane Hall
Poster by Ken Jennings

Photos by Ken Jennings

Passion Quest

This “note” was written by Frank in October 1993 after the October 9 “Passion Quest” performance at Passion Flower in Oakland. The March 19, 1994, “Passion Quest 2,” also at Passion Flower,  incorporates the changes Frank talks about in this note. The scripts for both performances are available to download below under each poster.

Here is Frank’s note:

Yesterday I rewrote sections of the all-night ritual…partly in response to the increasing anti-sex environment of our culture (I wanted to make it clearer that the work is NOT anti-sexual)…and partly (mainly) following the desire of the ritual itself to go into different, “deeper” physical trance states. (“Deeper” is a misleading term because of its vertical linearity.)

These are some of the new sections:

“WE ARE GOING ON A NONLINEAR JOURNEY, A TRANCE JOURNEY, A JOURNEY BEYOND TIME AND TABOO, A JOURNEY OF PLAY, A JOURNEY TO LILA. FOR THIS JOURNEY, I NEED HEROS WHO ARE WILLING TO GO INTO THE TABOO AREAS OF EROPLAY, WILLING TO PUSH BEYOND WHERE IT IS COMFORTABLE AND SAFE TO EXPLORE AND BUILD A LARGER ZONE OF SAFENESS. ONE ADVANTAGE OF WORKING IN A SMALL ENCLOSED SPACE IS IT FOCUSES THE ENERGY, BUILDING UP PRIMAL FORCES. ALSO, BY HAVING OUR PLAYING EXIST WITHIN THE SACRED CIRCLE OF RITUAL, OUR PLAYING CAN BE DONE OUTSIDE THE CONTEXT OF TABOOS, WITHOUT BEING INFLUENCED BY JUDGMENTS OF THE AUDIENCE. SO THE PLAY, WITHIN THE EROPLAY RITUALS, CAN BE INTENSE, VULNERABLE, AND MAGICAL WITHOUT ANYTHING SEXUAL ABOUT IT. THIS ENERGY THEN WILL BE LEAKED OUT FROM THE ENCLOSED SPACE INTO THE OPEN PERFORMANCE SPACE, BECOMING THE MOST POWERFUL THING HAPPENING IN THAT PLACE. USING THE MAGICAL STATE RELEASED BY OUR PLAYING, THE DUEL-BODIED ROCKING JOYOUS FIGURE OF LILA WILL CARRY US IN A TRANCE, THROUGH SEX, TO WHAT IS BEYOND…TO THE REALM OF ALL-POSSIBILITIES.”

and:

“EROPLAY AND WHAT IS USUALLY CALLED “SEX” ARE BUT TWO OF MANY WAYS TO RELEASE AND CHANNEL THE ENERGY OF PHYSICAL PLAY. IN THE WESTERN CULTURE, THESE MANY WAYS HAVE BEEN HIDDEN FROM US WITHIN SEX. EROPLAYING WILL LEAD US TO DISCOVERING THESE MANY OTHER WAYS. EROPLAY IS NOT ANTI-SEXUAL ANYMORE THAN WALKING IS ANTI-SWIMMING.”

During the years I was exploring just eroplay trance in my work, I found that people in their head would pull themselves out of the playing when the play reached a certain intensity. What was happening was they were stepping out of the play to check if the play had turned from eroplay into sexual. Most of the time, this stepping back and checking was not from mistrust or not wanting to play, but from a carefulness and a confusion. But what the stepping back does is remove the person from the experiencing (playing) mode into the thinking/observing mode. This creates the jerkiness which is not pleasurable. This greatly limits the playing/experiencing, greatly increasing the confusion factor. It took me several years to come up with a way around this dynamic. I finally started asking people before they committed to the work if they would be willing to use sex in the work. This willingness bypassed a lot of pulling back, jerkiness, confusion, carefulness…and the whole sexual question…allowing the person to experience the play with the intensity unlimited. The play remained eroplay. The reasons that the play needed to remain eroplay rather than sexual in the work were practical rather than moral.

When the work turned to exploring, mapping, other physical trances “closer” to “sexual”, the need for this willingness grew for practical reasons.

The eroplay rituals will stay about the same, with only a slight widening of the frame. The real change will be in the WRAPPING/ROCKING ritual in that the rocking couple will have a wider “keyboard” of gestures, including “sexual” (really sursexual or tansexual). This new range of possibilities will effect the ritual…even on the nights when the couple (really the trance) happen not to “use” the “sexual” gestures.

During the WRAPPING/ROCKING ritual, the “audience” sit and watch and are wrapped together by nude body-painted dancers. The physical focus, the physical trance generator, is the rocking couple who are using the wider keyboard. The rocking couple are a female cast member (Linda in recent performances) and me. I’m not sure the audience will be aware of the widening…but they will be effected by it. The eroplay rituals in which the “audience” physically participate more remain the same.

Frank Moore
October 1993

Passion Quest poster
Passion Quest poster by LaBash

DOWNLOAD “PASSION QUEST” SCRIPT

Passion Quest 2 poster
“Passion Quest 2” poster by LaBash

DOWNLOAD “PASSION QUEST 2” SCRIPT

“Passion Quest” ticket, front and back
“Passion Quest” ticket, front and back
“Passion Quest 2” ticket, front and back
“Passion Quest 2” ticket, front and back

Naked Poles

August 5, 1995

ripping paper,
revealing
the beautiful rough wood
buried
under
all of those
littering
words,
ideas,
events,
messages,
images
of humans
gone out
of control,
seeking contact
right out
on the street
where anyone
and everyone
can see
and read
and get tempted,
get distracted,
get pulled
into i-don’t-know-what.

all on the telephone poles
on my avenue.

beautiful telephone poles.

so i make my rounds
pulling,
ripping,
making
our world
neat again,
making it
safe
and comfortable
and pleasant again
for tourists
and macy’s.

after all,
ideas
stapled up everywhere
are disturbing,
disquieting,
and messy.

i don’t look
or read
as i rip,
i just listen,
then pat the nude wood,
then move
on to the next pole
covered in scales
of communication
of strange communities
and subcultures
who don’t know that there are
right and correct
channels of
communications.

buy an ad
on a bus bench,
for pete’s sake.

ever hear of the classifieds?

get a review,
you lying nixons
and funky headshrinkers,
whatever you are!

they are probably
oily
slimy dark
so-called
beat punk
poets
writing pages
upon pages.

no sense of order
or of the correct style.

they wonder why
sensible papers
don’t list
their wailing sessions.

so they deface
my natural beautiful pole
with their crude
rude
announcements.

is your mutt lost?
check the pound.

lost child,
see the police.
but i’m getting carried away.
i leave
missing persons
and wanted posters up
as a public service.
after all,
the cops
always wink and smile…
except when i tried
to burn the disgusting flyers off…
it got out of control…
but i will keep control.

cops
and managers of up-scale chain stores
and the city beautification committee
all smile
and wink
as i pass.
i’m their agent.

i do
what they want
until
they can pass a law.

there will be a law
because there should be one
against
this rubbish of scum.

and when that day comes,
as it surely will,
the chamber of commerce
will reward me with a scroll,
and a grant,
and the position
of the keeper
of the poles,
complete with handcuffs
for anyone
i catch
pinning words
to nude wood.

i don’t care if it is
martin luther nailing his protests,
robin hood posting
his demands
to the evil sheriff,
tom paine banging
his broadsides
up at every crossroads
and outside every tavern
in the land,
ben franklin plastering
his newspaper
all over towne,
the girlie posters
by that french dwarf,
or whathaveyou?

it is not a question
of censorship
or free speech.

we should just keep things
in their proper places,
keep neat
order!

now i’m willing to let
the real politicians
have the use of
my poles
only
during elections.
after all,
i’m american!

but the rest of the year
the poles must be nude!

Andrew Goldfarb of The Slow Poisoners reads “Naked Poles” on Frank Moore’s Shaman’s Den, March 26, 2000.


Pole Art Series - Telegraph Poles by George Kauffman
Poster by LaBash

Pole Art Series – “Telegraph Poles” by George Kauffman – 1994

Old posters

It feels like things are just roaring along and we are running to catch up … !

We had started talking about resuming work on Frank’s multi-volume, full-color, coffee table Performance Books, but we didn’t know it was starting right away … and then one thing led to another …. and we were trying to figure out which year a Gilman Street performance was that just showed up on Facebook … and in the course of searching the internet, we came across this Cornell U. collection of punk flyers … which led to their collection of flyers that included Frank … BOOM! … work on the Performance Book has resumed!

Gilman Street Project, September 1987
New Generic – Swedish American Hall, September 1984
Gilman Street Project, April 22 – June 11, 1988
Gilman Street Project, September 1987
Gilman Street Project, May 27, 1988

This is what is written under Frank’s name on this poster that we found posted on Facebook:
“Several yrs back the paraplegic God type on VideoWest?
He’s back, and boy is he something.”

Posters from: https://digital.library.cornell.edu/?f%5Bsubject_tesim%5D%5B%5D=Frank+Moore

The Blind Lemon

We just ran into this poster for the Mutants show at our club, The Blind Lemon. Here’s something Frank wrote about the Blind Lemon:

We got the little theater that I named THE BLIND LEMON (because there was a painting of Blind Lemon Jefferson in the lobby) on San Pablo Ave in Berkeley in 1979. In the thirties it was the communist center. In the sixties it was a hippie club at which Bob Dylan once played. Obviously it also had been a blues club. So I continued the tradition! I did a lot of different things in the space. Including having bands play on Fridays. I was doing THE OUTRAGEOUS BEAUTY REVUE at the San Francisco punk club, THE MABUHAY GARDENS on Saturdays. So I booked bands that played at the Mab at my club. It was an all-ages club before all-ages club was a popular concept! Sure, no drugs/booze. But also no smoking! I actually made the scary hard-core chain smoking band, THE MUTANTS, to not smoke! Hey, I have always been a mother fucking bad ass, not a “harmless” guy as Kevin described me below. Would Kevin write the below great piece thirty years after I only booked him. Not ripped off his clothes and licked his nipples! But I am flattered. The work just is that powerful! Thanks, Kevin !

We ended having bands play at THE LEMON because we thought we were doing too many different projects. Which seems silly considering how much we are doing now!

Here is the link to read Kevin’s piece:
http://www.eroplay.com/Cave/blindlemon.html

Blind Lemon poster
Tots at The Blind Lemon