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Tag: Frank Moore’s Shaman’s Den (page 1 of 1)

Penny Arcade – Deep Conversations in the Shaman’s Den

Recorded March 8, 2009 on luver.com

In Frank’s own words, “Penny is funny, warm, sexy, erotic, kick-ass, political, subversive, plain talking, nude, up-lifting, real, wise, entertaining, committed, outsider, humane, community-building, rich history … and a damn good artist!”

Penny had just finished a performance of her BITCH! DYKE! FAGHAG! WHORE! in San Francisco and was immediately taxied off to Berkeley by a couple of Frank’s students. This was also the second session of the night for Frank who had just completed an hour and a half interview with another guest shortly before Penny arrived. When Frank announced the show, he said that they would be “comparing notes from our lifetimes of cultural subversion!”

Penny Arcade’s transformative experimental performance work has been produced all over the world. Like Frank, her resume is rich good reading, and takes you on an amazing journey from leaving home at age 14 to “join the fabulously disenfranchised world of queers, junkies, whores, stars, deviants and geniuses”, through Andy Warhol’s Superstar Factory, into the European political theater of the 1970s, her art experiments and activism of the 1980s, prolific theatrical productions of the 1990s, and her growing international performance work since 2000. And like Frank, she (with Steve Zehentner) has produced a long-running public access TV show, planting seeds and exposing mainstream culture to the real art and history. This show, Stemming The Tide of Cultural Amnesia, The Lower Eastside Biography Project, actually featured the interview below, so it has been seen many times on both coasts.

This interview is “shop talk” between two legendary artists, and a primer for any artist just setting out on the road of art and the experimental life.

Below is an excerpt from the book, Deep Conversations in the Shaman’s Den, Volume 1.

Linda: (in mid-sentence) … we play it as a repeat all night, so a new episode plays at like one in the morning, because we have like, almost 400 episodes.

Penny: Wow. That’s crazy, I love it!

Linda: We’ve been doing it like ten years.

Penny: Yeah, and we’ve been doing ours about ten years. So, it’s kind of interesting that we’re on the same (gestures) …

Linda: Yeah. Got into cable at the same time.

Frank: I just asked for a 2½ hour time slot.

Linda: Because they didn’t have that as an option, but he said, I’d like to do 2½ hours and they said OK. But I think in Berkeley they don’t have a lot of people that are doing shows. It’s not like very competitive.

Penny: In New York it’s really … everything’s a half hour. You know, maybe sometimes you could do an hour special, but I love it!

Frank: How do you fit life into a half hour?

Penny: Yeah, exactly! Total bullshit! But, one of the things that was the most fucking interesting thing was when I went to get that piece of pizza. And I had the books, right? So, I’m waiting for the pizza, and I started to read the NYU lecture [Frank’s Art Of A Shaman – Ed.]. And I’m a fast reader. I’m the highest comprehensive reader in my … when I was 12 years old in my age group in the state of Connecticut. So I’m reading and then my eyes fell on this whole … you and I have to talk, of course a lot about the commodification of art, right? And I was talking with the boyz (Corey and Alexi) about … I’m like totally an emerging arts fighter. I hate the whole concept of emerging arts, it drives me insane.

Frank Moore and Penny Arcade (video capture)

Frank: If art is not emerging, it is not art.

Penny: Yeah, but there’s a big difference between suddenly saying, after a thousand years, where there were young artists who became old artists and now they have this … the idea of emerging arts as a class of young people.

Frank: Yes.

Penny: This comes not from the art world. This comes from academia, because parents who are paying 250 fucking thousand dollars to educate their kids to be a performance artist, or a spoken word artist, or an experimental filmmaker, the same amount of money that it costs to educate somebody to be a lawyer (Frank sounds) or a surgeon. The parents want to be assured that there is an entry-level position for their kids. And this is terrible for young people because young artists, there’s no two ways. Jack Smith said, you have to apprentice, it’s the only way to learn how to make art! And not that people shouldn’t also do their own thing, you know.

Frank: Or just do it for years.

Penny: Yeah, absolutely! But you have to be willing to be bad for twenty years in order to be good.

Frank: Yes.

Penny: I was talking to the boyz and I was saying what they’ve been doing with this emerging arts thing is creating this professionalization of art. And art is not a profession. Art is a vocation. And I was reading in your …

Linda: Art Of A Shaman?

Penny: … Art Of A Shaman. And I was reading this part where you were talking about what they did with performance, into making it into a certain amount of time. Many, many people said about my show … I invite anybody, you know … and they say, I didn’t know it was going to be so long. (Linda laughing, Frank sounds) And that’s not one of my long shows. (Frank sounds, Linda laughing)

Frank: Exactly! They think that 45 minutes is a long show.

Penny: Right.

Frank: And I do 48-hour performances! (Frank sounds)

Penny: Yeah, yeah, of course. That’s because you’re a master. You’re a master. But it’s so … it’s very empowering for me, because I was very, very tired. I was very sick the whole week. From the first night you came to the Thursday night you came, I was sick that whole week with very bad bronchitis. And I had hepatitis C a few years ago and I went on the interferon treatment and then I got an auto-immune illness called sarcoidosis that settled in my lungs. So it made me weak in my lungs. So when I get bronchitis, which I seem to get now every time I get a cold, I had no energy. So all those shows I’m doing with no energy, which is very hard, you know. And so I was worried about the length. You know what I mean, myself. I was going, fuck, I don’t have the energy to … like, usually the opening of the show when I introduce the dancers, that’s like an assault. (Frank sounds)

Frank: Like a wrestling announcer!

Penny: Yeah, yeah, yeah, yeah!! Like a wrestling announcer, exactly! It’s a very dynamic fighting, very aggressive, you know. And I didn’t have quite that much energy, so I was like pushing it uphill all the way. It was very hard for me. So that night when I went to get the pizza then you gave me the book, I was looking at it. And then I read that thing about what they’ve done with performance. I think you and I are in agreement about a lot of things. For instance, I always say that performance only happens in the performance, right? It doesn’t happen … you don’t rehearse performance art. You know what I mean, that’s kind of (laughing and gestures) …

Frank: Or the rehearsal is a performance!

Penny: Yes, absolutely! Perfect! No problem! So then when I was reading it and I fell on these lines where you were talking about how they’ve taken performance and tried to fit it into this kind of entertainment category, etc., and then if you don’t do that, then you’re sloppy or you’re bad or you’re unprofessional or whatever. And my eyes fell on that, and I’m like, oh my God, I was just getting seduced down this road. You know, getting twisted up and feeling bad about myself. And then the other thing was, and also, of course, the most exciting thing that I read at that moment was about how the show goes where the show’s going to go. The performance goes where the performance is going to go. (Frank sounds)

Frank: You don’t control it.

Penny: No, no, no! It has to go where it’s going to go! And the thing is all my work is created improvisationally. And this show is the result of pretty much two years of straight improvisation. And then eventually it becomes kind of a set piece because it was … my mind works a little like an old time word processor. I kind of scan, and then I cut and paste in my own head as I go along. I think this is something you understand.

Frank: Me too.

Penny: Yeah, yeah, yeah, yeah. I think, I was getting this. I was reading this shit and I was thinking maybe Frank Moore and I are the same person! (laughter)

Frank: Or mates.

Penny: Yes, yes, definitely, for sure. But we even possibly could be the same person! Why couldn’t there be a sharing of almost persona, or something that we don’t even know exactly what it is.

Frank: I could do your show.

Penny: Yeah, yeah, yeah, exactly. I could do yours! I love it!

Frank Moore and Penny Arcade (video capture)

Linda: He did that. There’s a picture up there (gestures) of Frank dressed as Elvis Presley.

Penny: Oh yeah.

Linda: And he did that with an artist who was popular around here that called himself Extreme Elvis.

Penny: Oh yeah.

Linda: He was a big guy and he came out as the big Elvis. That was his outfit. And he’d end up naked real fast. Then he did the peeing and pooping on the audience stuff and just all this going out to the audience and trying to get them to be there with him. And they were mutually admiring each other. So he came up with the idea. He had this big date booked in a club in Oakland. He said, how about you be me? But we won’t tell anybody. He didn’t tell his band. He told one of his backup singers, that’s all. And he played Frank in the audience.

Penny: Wow!

Linda: And so the backup singer wheels Frank in. And the place was packed. (Frank sounds) He’s this hot act. And the band, because they know he’s always pulling fast ones, they just kind of go along with it. Oh, OK! And Frank does the whole show as him.

Penny: You have video of that?

Linda: Oh yeah!

Penny: Wow, that sounds so fantastic!

Frank: Freaked the punks out.

Linda: Well, they started … do you mean when the band had to come to your rescue? No.

Mikee: Gilman Street.

Linda: Oh wow! So what we did was, there’s this little all-age punk club down the street, that’s been around forever. And they were having this video festival and they contacted us out of the blue. We’re not really involved with them. And said to Frank, could you submit something for us to play at this festival. So we had just done this show, and they needed like 15 minutes or something. So he said cut out the 15 minutes where the backup singer pees on me. So we play that. And they’re these hardcore baby punks. And they freaked out. Why did they freak out? Because they thought that Frank was not there of his own free will. That he was being forced to be peed on and all this kind of stuff. Which Frank was not! That was the controversy!

Penny: It never ends. The political correctness never ends. Yeah, it’s funny, because you’re reminding me of … a number of years ago, I guess it was around 1991, I got a call from Ron Delsener who is the big rock’n’roll promoter in New York City, from his office. And they said that this band … now what the hell was the band’s name … I can’t believe I’m not going to remember the name of the band … the band is like, they’re the superstars of industrial music … Pig Head? Pig something. And it was like a guy from the Ministry, guys from out here, from the Ministry or whatever it’s called … it was a super hardcore industrial band. It was all the stars of all the different bands. Like a five-star band, they’re the super band! And apparently they had requested me. So I go down there, and I’m talking to the guy on the phone from the office. And I said, you know, I don’t think so. I said, the audience for this is like 16- to 24-year old guys. I said, I work with like … you know at that time I was doing a lot of work on rape and sexual abuse and shit like this and I say, my work is about rape and sexual abuse. I said I have like six erotic dancer girls. And I went, and yeah! I think, yes, I should do this! (laughing) The guy’s like, huh?! Well, I go there and I start doing this piece. And there’s like, I don’t know, 400 hardcore boys on the floor and I’m starting this piece and it was some piece about sex. It was a sexual piece. And the girls are grinding and dancing. (Frank sounds) And the boys just kept looking at the ground, you know. And then pretty soon it starts to look like oatmeal, like they’re getting annoyed! They wouldn’t look up, and it was bubbling like this (gestures). A guy at this point comes running up to me and goes, (screaming) we don’t want to hear any more of your sex stories!!! I had the mic and I was like, oooohhh. Is it true what they say about hardcore boys? Is it true what they say about hardcore boys? And it became really, totally … it was like really intense. And I was just going. And I just didn’t stop. And I started talking about that there was a smell of new age order. Of the new world order was in the room. And I just kept going on and more and more. And they were like freaking out. (laughter) And I looked up and there was a guy who was the roadie for the band. And I yelled, I said, hey, how long do I have to perform to get paid? And the guy goes, 20 minutes. So I said, OK. I ended up on one of the amps in the front and I started talking to them, very quietly. And I said, well, Pig Face, that’s the name of the band, well, I said, it’s kind of a weird situation. I’ve got to perform for 20 minutes in order to get paid. I know you guys don’t want to see me. And you don’t want to hear anything that I’m doing. I said, even though Pig Face wants you to see me. That’s why I’m here. And I went on. I did this whole long, very quietly emotional thing. And then I looked up and I said, how much time do I have left? He goes, you just did 20 minutes. And I went, bye! (laughter) And we all walked off the stage. And then I went upstairs and the guy from Pig Face, the main singer, he’s this little English guy. He’s quite famous, blonde guy. And I said, hey, your audience are assholes. And he goes, yeah, I know. And he’s doing push-ups. I said, are you doing push-ups to be pumped when you go on stage? He’s doing push-ups and he goes, no! It makes the acid come on faster! And then I watched him, and they were like … their whole show was these young guys trying to get on stage and them beating them with their guitar and bass. It was like the mosh pit scene, you know. And then afterwards we were … I was upstairs and all these guys kept coming over and going wow, you’re way more hardcore than Pig Face! And you’re more hardcore than anybody!

Linda Mac, Frank Moore and Penny Arcade (video capture)


Recorded March 8, 2009, Berkeley, California. This is an episode of my live internet streaming video show, THE SHAMAN’S DEN, on my internet station, www.luver.com. On this Penny Arcade and I talked deeply about how to cause trouble in the underground as misfit performance artists as a lifetime calling and have fun doing it!

Sasha Cagen (& Michael) – Deep Conversations in the Shaman’s Den

Recorded March 18, 2012 on luver.com

Sasha Cagen is a writer, coach and community builder and the founder of the Quirkyalone movement. She is the author of the books, Quirkyalone: A Manifesto for Uncompromising Romantics and To-Do List: From Buying Milk to Finding a Soul Mate, What Our Lists Reveal About Us. She writes a blog on the Huffington Post and has appeared on CNN, the BBC and NPR.

Sasha attended Frank’s performance, The Uncomfortable Zones of Fun in December 2011 and published a long review of the performance on her Huffington Post blog. Frank invited Sasha to be a guest on the Shaman’s Den after reading her review.

Below is an excerpt from the book, Deep Conversations in the Shaman’s Den, Volume 1.

Linda: … and then Frank always says they complain … (Frank sounds) And they say you know I can’t get connected with people, and they blame it on their disability. And Frank says, hey, turn the letter board around, make it easier for people to talk with you. (Frank sounds)

Michael: Cool.

Frank: Reach out. But they want to blame the …

Linda: Disability for all of their problems.

Michael: It hasn’t stopped you. (laughs)

Frank: How did you get started …

Linda: In your work? How did you get started in your work?

Sasha: I started writing … oh, is there more?

Linda: I think so …

Frank: Or in your …

Linda: In your play? (Sasha laughs)

Frank: Life … ?

Linda: Or how did you get started in your life?

Sasha: (giggles) … Hmmm, now I don’t know how to answer … (giggles) How did I get started in my life … maybe I should answer that one … that seems interesting.

Frank: Yes.

Frank Moore, Sasha Cagen and Michael (video capture)

Sasha: Well you know, it’s funny, I was talking to my mother a few months ago about some early … some childhood things and she said to me … she was kind of questioning my interpretation of my childhood or something … and she said, well, you were just always this kid who like always wanted to go and explore and meet people and when you were two and people would come over, when they were leaving you would be sad and want to go with them and see what was going on. So it was actually really interesting to hear that. (Frank sounds) And I think that’s true. That I am just very curious.

Frank: Like me.

Sasha: Yeah, probably.

(Frank sounds)

Linda: You want to hear more? Tell us more!

Sasha: (giggle) … Wasn’t that enough? (laughing)

Frank: I am not CNN.

Linda: He’s not CNN (laughter) … You can give longer answers.

Sasha: I know … I’ve got my talking points ummm, ummmm, so then how did I get started in my life … well, I went to nursery school, made some friends, then I went to kindergarten and um … Yeah, I think that I just always had a … I grew up in Rhode Island which is a very quirky interesting state … I think it really kind of shaped me but at the same time I really wanted to leave it.

Frank: And you made a career out of “quirky”.

Sasha: Yeah, I think so (laughter) and I am getting more explicit about it … I think I am going to become more explicit about that ’cause I have been kind of not totally owning it.

Frank: How?

Sasha: I don’t know yet, but I think it’s going to be like the centerpieces, because I really am really interested in individuality and acceptance and celebration of individuality and I think that underlies all of my work … and I’m actually working with a coach now to help me see that … because there are certain parts I haven’t … I haven’t made it coherent yet, but that is the center of it all.

Frank: What is quirky?

Sasha: Um … it is unintentional difference. So it is basically being yourself in a way that is not … it’s not like trying to be quirky. For an example, I think quirky is hip right now and there was a Saturday Night Live sketch that was like Zooey Deschanel and other quirky characters in pop culture that have this kind of hip aesthetic and that’s not quirky at all. Like that’s totally commercial and predictable. So quirky is … the example that I used in that Quirkyalone book was like it’s a cowlick … it’s like your hair sticking up … and it’s uncontrollable … you work with it, you don’t hide it. You go with it.

Frank: And play with it.

Sasha: Yeah, right, if you can. Like first you have to accept it and be good with it. That’s the first step. And then yeah, play with it … it’s more fun.

Frank: Why would not you accept it?

Sasha: Why would you not accept it? Because it’s not acceptable. It’s not how you are supposed to look, behave or be. Or because it takes courage to accept your quirkiness.

Frank: But, if you are quirky, you don’t have a choice. (Frank sounds)

Sasha: Um … Well, you do have a choice. I mean you can camouflage it and blend in … if you are self-identified quirky then you have made the choice to embrace your quirkiness. But everyone is potentially quirky … I mean we all are, right? So that really is the difference between quirky people and non-quirky people … the non-quirky people are hiding it.

Frank Moore and Sasha Cagen (video capture)

Frank: Art and science are full of …

Linda: Quirky people. (Frank sounds)

Sasha: Yeah, that is true. Yeah. (Frank sounds)

Frank: I just read …

Linda: Which one are you thinking of, the science one? (Linda to Mikee) What’s the name of that book we just finished reading about the science dude?

Mikee: Feynman, Richard Feynman.

Linda: Richard Feynman, it was a biography of him.

Mikee: Autobiography.

Frank: How he is quirky. (Frank sounds)

Sasha: Michael’s read it.

Michael: I read it … he is amazing. When he was studying physics, instead of reading the books, he did every experiment in history to understand on his own terms, so that by the time he became a scientist, he couldn’t … no one actually understood the ideas he had because he started all of them from scratch. He’s really funny too. He is an awesome guy.

(Frank sounds)

Frank: He can pick locks.

Linda: Oh, pick locks? There was that whole thing where he got into picking locks.

Michael: For the challenge? (Frank sounds)

Linda: It was really safes. He knew how to pick most of the safes in the building that he was in at one point … he kind of prided himself in that.

Michael: I should learn that skill …

Frank: And the Manhat …

Mikee: Manhattan project …

Linda: Oh, the Manhattan Project, that was the organization where he picked all of the locks.

Michael: Oh, that is a great place to do it … (laughs) Well, you know if you are going to go, go big, I guess. He was a more original thinker than almost anyone else around him and I never understood if it was just who he was or if that is what he learned to be. I keep reading those books, because I never get tired of them.

Frank: What was it called?

Linda: The actual book? Do you remember the title of the book, Mikee? He’ll look it up.

Frank: You Must Be Kidding.

Linda: Oh, that was the name of it.

Michael: Yeah, You Must Be Kidding, Mr. Feynman. (all laugh) Good choice. Do you read a lot of physics books?

Linda: We read a lot of books. Frank has read a lot of physics books over the years.

Sasha: Do you all read books together?

Linda: Frank gets the talking books from the Library of Congress, it is a free service, so he can pick the books online, then we download them and put them on a little stick and they send us the machine to listen to them on. We always have two books going. We have one we read during the day and one we read late at night when we are getting ready for bed. It’s really fun. We do a lot of reading.

Frank: After ten years at least of not reading.

Linda: Right, any books at all. (Frank sounds)

Linda: Well, it is because we started the radio station and we had that on all of the time, so we just stopped reading. Before that we had books going all of the time. And then we started again about a year and a half ago or so.


Frank Moore and Sasha Cagen (video capture)
Recorded live on luver.com, Sunday, March 18, 2012, Berkeley, California.

Read Sasha’s review: http://sashacagen.com/uncategorized/improv-with-my-computer-or-my-night-with-frank-moore/

Read Sasha’s review of this Shaman’s Den: http://sashacagen.com/uncategorized/a-deep-conversation-about-life-coupling-and-quirkyness-with-frank-moore/

More Frank Moore’s Shaman’s Den: http://eroplay.com/underground/shamansden.html

Michael Parenti on Frank Moore’s Shaman’s Den

An excerpt from the conversation on Frank Moore’s Shaman’s Den, recorded March 14, 2004.

Michael Parenti: Look at it this way. If it means that you can get ten million dollars by stripping and destroying a natural forest that had certain species and had other things and had other uses and fishing … and you can walk away with ten million dollars, you’d do it. Because the gain is immediate, it’s immense. It involves billions of dollars in an oil fueled economy, for instance. Hundreds of billions of dollars. And the costs are, the dis-economies, are thrown onto the public for the most part. It’s true some of that comes back to them. It’s true Betty Ford got breast cancer, you know … and others. But that’s a small price to pay for your hundreds of billions of dollars.

I don’t think we properly understand the mentality of the aristocratic, wealthy class. Their wealth is their essence. They kill for that wealth. They will kill and destroy whole countries to maximize that wealth. Maybe you could get a sense of it if you understand the Mafia. We’re always concentrating on the Mafia. The Mafia is penny, nickel and dime stuff. But it’s exactly like the Mafia.

It now comes in and it gets its cut … it wants a cut of any human activity that’s going on. That’s why it has to be privatized, so that they can come in. The mafia made it that way. They go to a store owner and say, “you make so much a month, from now on you give me a hundred dollars a week of that money”. That’s all. They just come in, don’t do a thing, don’t provide any service, they just get a cut. And that’s what these guys are doing to this day. It’s not the peanuts, the way the mafia makes it. It’s billions of dollars. They do not want any kind of activities, any public sector going on, and pension disabilities, survivors’ insurance, which is what Social Security is … they don’t want that. They’re not making any money. It’s billions of dollars and they’re not making a penny on it. It kills them. Public housing … the landlords don’t make a penny on public housing. So, that’s what their passion is. So when you come along and say “pollution” … so, a river … who gives a god damn about a river? (Frank laughs) They’re very good at attacking things that can’t defend themselves. They’re good at attacking children, the elderly, the disabled. And they’re very good at attacking the environment, because the environment can’t defend itself. The environment is there, and seen as raw materials infinitely … that they can use indefinitely. They believe they have complete right to all the natural … whatever natural resources are left in this world … that they have a right to access all of those resources, to use as they wish. They have a right to dump their dis-economies back into that environment. That is their mentality. And the goal is to get richer, and richer and richer and richer. As Marx said … there are three words he used in Capital, Volume 1 … accumulate, accumulate, accumulate. And that’s the madness that we’re facing.

Frank Moore: What will happen when there is nothing to accumulate?

Michael Parenti: Well, they will go on doing what they do now. For instance, we hear that the Pentagon is now developing contingency plans for global warming wars. That is … this is the level of insanity that capitalism brings people to. They don’t say, “This could lead to a catastrophic disaster”. They accept the catastrophic disaster! They don’t say, “We should change our methods of production, our energy systems, our transportation systems” and all that, to reverse this. They say, “This is coming and there are going to be many people, there are going to be massive riots, there are going to be whole countries where people are going to be starving or inundated by floods or by freezing temperatures if the gulf stream gets smothered by the melting ice, fresh water from the North Pole …”, and they’re developing plans to … so those plans are simply the same pattern of response they’re doing now, for instance, against terrorism. They don’t say, “We should change our policies, because our policies are creating terrorists”. The terrorists keep saying to us, “We fight you because you are in our region, you’re destroying our countries, you’re taking over our countries, you’re destroying our cultures, you’re doing this, and you’re doing that … and so we want to bring the war home to you” and all that. They don’t see that! They say, “Oh, the terrorists fight us because we’re … as Dan Rather said, “We’re winners, and they are losers, and that’s why they hate us”. Other … these right wing media pundits who over populate the TV stations, have all said the same thing, “They hate us because we’re free, we’re prosperous, we’re democratic, and we’re secular … that’s why they hate us”. But when you read what they say, the terrorists who did the 1993 bombing of the World Trade Center, Osama bin Laden, several of his interviews, I’ve got them all in a new book I’m doing, they don’t say that, they don’t say, “Oh, we hate you because you’re so free, and prosperous and good looking and all that stuff”. (Frank laughs) They say, “We want to get you off our backs. We want you to get out of here. We are retaliating.” They see their war as a retaliation against the things the U.S. has done. And the ruling class simply doesn’t look at it that way because they’re using the terrorism more for their own agenda, which is, higher military spending, larger permanent military bases through Central Asia, the Middle East, Africa, Southwest Asia. Everything the Project for the New American Century has talked about, they’re doing. And so it’s very clear that the war on terrorism, they don’t want to end the war on terrorism. They want that war on terrorism to keep going on. I mean, Bush lets it out sometimes, “This is the first war of the twenty first century. This is an era of perpetual war. There are a whole bunch of countries we’re going have to confront”. They want this to keep going on because it serves their purposes. It gives them runaway military budgets. It gives them a militarization of the whole society. It gives them license to go and attack and bomb and kill people all over the world, and to build military bases. The plan is to finally put a global lock on all the resources of the entire world. A global lock on all the populations of the entire world. To impose upon all of those populations, including the one in this country, a free market system, where there’d be no public sector, no protections, no regulations of any kind. Where the right of capital, and the powers of capital will reign supreme. It’s a very rational policy. That’s not my conspiracy theory. You can go onto your computer and just click in “Project for a New American Century” and they got it all written up there, they put it up on their website now, their plan.

Here is the video of the full interview:

Music Jam – A Poem

A poem by Teresa Cochran about “The Jam” on Frank Moore’s Shaman’s Den, May 28, 2000, with Teresa Cochran, Giovanni Moro, Walter Funk, John The Baker, Corey Nicholl and Frank Moore

Hi Frank,

Here’s the poem I wrote about our jam in May. I wanted to surprise you with it on LUVER! 🙂

Music Jam

Here we are
In the Shaman’s Den
The Shaman on piano,
Bringing music out of infinite spaces,
Inviting us to follow.
We find our own parallel musical paths,
Each one different,
But present,
Like a harmony.
Joyous play
With shamanic toys;
We are all here.
The silent one, Booya,
Is no less present.
Here he is
With headphones;
An omniscient being,
While we trust him
To stay with us
And participate in our adventure.
And o the magical recording later!
It contains things we could not, did not hear
In our shamanic journey.
I feel as if I have lived
At least one lifetime
During that one-hour jam.
Condensed, yet timeless.


Listen to the jam here:

Teresa is a Featured Artist on eroplay.com. You can read more of her poems here: https://eroplay.com/feature/teresa/index.html