Genesis P-Orridge
Genesis P-Orridge | |
---|---|
Born | Manchester, England | 22 February 1950
Died | 14 March 2020 New York City, US | (aged 70)
Other names | Genesis Breyer P-Orridge, DJ Doktor Megatrip, Megs'on, P. Ornot, PT001, Vernon Castle |
Occupation(s) | Singer-songwriter, musician, poet, writer, performance artist |
Years active | 1965–2020 |
Spouses | |
Children | 2 |
Musical career | |
Genres | Experimental, industrial, avant-garde, electronic, psychedelic |
Instrument(s) | Vocals, bass guitar |
Labels | Industrial, Temple Records, Wax Trax! |
Website | www |
Genesis Breyer P-Orridge (born Neil Andrew Megson; 22 February 1950 – 14 March 2020) was an English singer-songwriter, musician, poet, performance artist, visual artist, and
Born in
In 1981, P-Orridge co-founded
P-Orridge was credited on over 200 releases during their lifetime. They were cited as an icon within the avant-garde art scene, accrued a cult following, and had been given the moniker of the "Godparent of Industrial Music".[1] P-Orridge considered themself third-gender and used various gender-neutral pronouns.[a]
Early life
1950–1964: Childhood
Genesis P-Orridge was born on 22 February 1950 in
Due to Ronald's job, the family moved to
1964–1968: Solihull School and Worm
After their father became the
Unpopular with other pupils, they were bullied at the school, finding comfort in the art department at lunch-time and in the evenings.
In 1967, P-Orridge founded their first collective, Worm, with school friends Pingle Wad (Peter Winstanley), Spydeee Gasmantell (Ian Evetts) and P-Orridge's girlfriend Jane Ray. Worm was influenced by
Brought up in the
With Hermon and Wolfson, P-Orridge founded a group called the Knights of the Pentecostal Flame.
1968–1969: Hull University and Transmedia Explorations
In September 1968, P-Orridge began studying for a degree in Social Administration and Philosophy at the University of Hull. Hull was chosen in an attempt to study at "the most ordinary non-elitist, working-class, red brick university", but P-Orridge disliked the course and unsuccessfully tried to transfer to study English.[18] With a group of friends, P-Orridge founded a 'free-form' student magazine entitled Worm which waived all editorial control, publishing everything placed into the magazine's pigeonhole, including instructions on how to build a molotov cocktail.[18] Three issues were published between 1968 and 1970 before the Hull Student's Union banned the publication, considering it legally obscene and fearing prosecution.[18] Developing a keen interest in poetry, P-Orridge won the 1969 Hull University Needler Poetry Competition, judged by Compton lecturer Richard Murphy and the poet Philip Larkin, who was then librarian at the university.[19] P-Orridge became involved in radical student politics through their friendship with Tom Fawthrop, a member of the Radical Student Alliance who had led a student occupation of the university's administrative buildings as a part of the worldwide student protests of 1968.[20] In 1969, P-Orridge attempted to reconstruct the occupation for a film, in the hopes that it would itself become a genuine protest occupation, but this venture failed due to a lack of participants.[20]
In 1969, P-Orridge dropped out of university and moved to London,
COUM Transmissions
1969–1970: Founding COUM Transmissions
Leaving London, P-Orridge hitch-hiked across Britain before settling down in a new home in Shrewsbury.[27] Here, they volunteered as an office clerk in Ronald Megson's new business.[27] On one family trip to Wales, P-Orridge was sitting in the back of the car, then "became disembodied and heard voices and saw the COUM symbol and heard the words 'COUM Transmissions'".[27] Returning home that evening, P-Orridge filled three notebooks with artistic thoughts and ideas, influenced by the time spent at Transmedia Explorations.[27]
In November 1969, P-Orridge returned to Hull to meet up with friend John Shapeero, who partnered with P-Orridge to turn COUM Transmissions into an avant-garde artistic and musical troupe. They initially debated as to how to define "COUM", later deciding that like the name "
COUM's earliest public events were impromptu musical gigs performed at various pubs around Hull; titles for these events included Thee Fabulous Mutations, Space Between the Violins, Dead Violins and Degradation, and Clockwork Hot Spoiled Acid Test.[28] The latter combined the names of Anthony Burgess' dystopian science-fiction novel A Clockwork Orange (1962) with Tom Wolfe's The Electric Kool-Aid Acid Test (1968), a work of literary journalism devoted to the Merry Pranksters, a US communal counter-cultural group who advocated the use of psychedelic drugs.[28] COUM's music was anarchic and improvised, making use of such instruments as broken violins, prepared pianos, guitars, bongos and talking drums. As time went on, they added further theatrics to their performances, in one instance making the audience crawl through a polythene tunnel to enter the venue.[29]
In December 1969, P-Orridge and Shapiro moved out of their flat and into a former fruit warehouse in Hull's docking area, overlooking the
1971–1973: Activities in Hull
On 5 January 1971, P-Orridge underwent a legal name change to Genesis P-Orridge by
After performing another set, Riot Control, at Hull's Gondola Club, the premises were raided by police and closed soon after; most local clubs blamed COUM and unofficially banned them. COUM drew up a petition to gain support for the group, attaining a booking at the local Brickhouse; their first performance in which the audience applauded and called for an encore. The petition had contained their phallic logo, and the police charged P-Orridge and Robb with publishing an obscene advert, although the charges were later dropped.[36] As they gained coverage in the music press, interest in the band grew, and they supported Hawkwind at St. George's Hall in Bradford in October 1971, where they performed a piece called Edna and the Great Surfers, where they led the crowd in shouting "Off, Off, Off".[36] The following month, the band attracted the interest of music journalist John Peel, who publicly remarked that "[s]ome might say that Coum were madmen but constant exposure to mankind forces me to believe that we need more madmen like them."[37]
Gaining an Experimental Arts Grant from the publicly funded Yorkshire Arts Association,
1973–1975: London and growing fame
Following continual police harassment, P-Orridge and Tutti relocated to London, moving into a squat and obtaining a basement studio in
"COUM enable all kinds of people to discover their abilities to express ideas through different media. COUM believe that you don't NEED special training to produce and/or enjoy, worthwhile, significant and unique works. COUM demonstrate that there are NO boundaries in any form. It has NOT all been done before, and that which has can still bear valid re-interpretation. Thee [sic] possibilities remain endless."
COUM Manifesto, 1974[53]
In January 1974, COUM returned their attention to music, collaborating with the Canadian artist
In April 1974, the Arts Council of Great Britain gave COUM the first half of a £1,500 grant.[53] The money stabilised the group, which now included P-Orridge and Tutti as directors, John Gunni Busck as technical director, and Lelli Maull as musical director.[53] During that year, they made use of various artist-run venues in London, most notably the Art Meeting Place (AMP) in Covent Garden, where they regularly performed during 1974.[58] A number of these works entailed P-Orridge and Tutti exploring the gender balance, including concepts of gender confusion.[59] In one performance at the AWB, which was titled Filth, P-Orridge and Tutti performed sexual acts using a double-ended dildo.[58] COUM were frustrated with the restrictions imposed on them by the Arts Council as a prerequisite for receiving funding; rather than performing at Council-accredited venues, they wanted to perform more spontaneously.[60] In August 1974 they carried out a spontaneous unauthorised piece of performance art in Brook Green, Hammersmith; during the performance, police arrived and put a stop to the event, deeming it obscene.[61]
In September 1974, COUM were invited to attend the Stadfest in Rottweil, West Germany, and they proceeded with a travel grant from the British Council.[62] There, they published two performance art actions in the street, earning them praise from Bridget Riley and Ernst Jandl, both of whom were present.[63] The acclaim that COUM received at Rottweil established the group's reputation as "one of the most innovative performance art groups then on the London art scene", convincing the Arts Council and British Council to take them more seriously and offer them greater support.[64]
"COUM is not 'about' entertainment, it is coumcerned [sic] with direct, symbolic interpretation of actions to realise a uniquely personal perception."
P-Orridge, 1974[65]
In February 1975, P-Orridge gained their first full-time job, working as an assistant editor at
1975–1976: Establishing Throbbing Gristle and the Prostitution show
COUM were introduced to
COUM continued to operate alongside TG, and in October 1975 they performed Jusquà la balle crystal at the Ninth Paris Biennale at the Musée d'art modern. The prestige of being invited to such an event led to the Arts Council awarding them a grant for £1,600, although only the first half of this was ever paid out.[74] COUM's mail art had taken on an increasingly pornographic dimension, and in November 1975 the police charged P-Orridge with distributing obscene material via in the postal system under the 1953 Post Office Act; this trial was set for February 1976.[75] They were prosecuted in 1975 for making collages combining postcards of Queen Elizabeth with soft-core porn, but the jail term and fines were suspended on condition they did not continue.[76]
Their Prostitution show, in 1976 at the
Throbbing Gristle
The first Throbbing Gristle performance was held at the Air Gallery in London in July 1976.[80] At that point, Throbbing Gristle's headquarters was located at 10 Martello Street, Hackney, East London, the address of an artist collective. P-Orridge and Tutti's living and work space was the postal address of Industrial Records (IR). Throbbing Gristle released "Discipline" in 1980.[85] TG came to be identified as the founders of industrial music,[86] although at the same time the academic Drew Daniel asserted that as a result of its eclecticism, their music resists clear analysis.[87]
Throbbing Gristle's best-selling single was "
The final IR release was called Nothing Here Now But the Recordings, a best-of album taken from the archives of William S. Burroughs, who provided P-Orridge and Christopherson with access to his reel-to-reel tape archive.[90]
The final Throbbing Gristle live event, Mission of Dead Souls, occurred in May 1981 at the Kezar Pavilion in San Francisco.[91] Shortly after the San Francisco event, P-Orridge and Paula Brooking were married.[92]
During this period, P-Orridge befriended an English musician named David Bunting; P-Orridge already knew another man named David, so coined the moniker David Tibet,[93] which Bunting adopted as a stage name. Through an introduction provided by Burroughs, P-Orridge met Brion Gysin in Paris, probably in 1980, coming to be deeply influenced by Gysin's cut-up method; P-Orridge understood this to be a revolutionary method of escaping current patterns of thought and developing something new.[94]
Psychic TV and Thee Temple Ov Psychic Youth
Following the break-up of Throbbing Gristle, in 1981 P-Orridge founded a band with Peter Christopherson and Alex Fergusson that they named Psychic TV.[95] Involved in video art, they also performed psychedelic, punk, electronic and experimental music.[96] The decision to name the band "Psychic TV" stemmed from P-Orridge's belief that while mainstream television was a form of mass indoctrination and mind control, it could be used as an "esoterrorist" form of magick to combat the establishment's control.[97] Historian Dave Evans described Psychic TV as "a band dedicated to musical eclecticism and magical experiment, their performances being in part ritual (ab)use of sound samples, the creation of 'auditory magical sigils' and the destruction of consensus language in order to find meaning".[83]
The band's first song, "Just Drifting", was based on a poem by P-Orridge.[98] For their first album, Force the Hand of Chance (1982), P-Orridge used a kangling, or Tibetan trumpet made out of a human thigh-bone; the instrument had been introduced to P-Orridge by David Tibet, and attracted attention to their music.[97] P-Orridge had become acquainted with Anton LaVey, founder of the Church of Satan and ideologue of LaVeyan Satanism,[99] with LaVey making an appearance on the Psychic TV song "Joy", in which he recites the Lord's Prayer backwards.[84] From 1988, the band came under the increasing influence of the acid house genre of dance music,[84] and were responsible for helping the popularisation of acid house music in Europe.[100]
Psychic TV made its debut in 1982 at an event organised by P-Orridge, David Dawson, and Roger Ely, called The Final Academy. It was a 4-day multimedia celebratory rally held in Manchester and at the
In 1981,
Having been encouraged by groups involved in propagating the
In 2016, the film director Jacqueline Castel began work on the feature-length documentary titled A Message from the Temple, about Thee Temple Ov Psychick Youth and P-Orridge.[111][112]
Later life
1993–2009: The Pandrogeny Project
At 45 years of age P-Orridge met Lady Jaye (née Jacqueline Breyer) in a BDSM dungeon in New York City and would eventually marry for a second time. Jaye worked as a nurse during the daytime, providing care for children with terminal illnesses and disabilities.[113] In the evenings, Lady Jaye worked as a dominatrix at the dungeon, and Genesis was a visiting customer.[114] The night they met, the two visited Paddles, an underground BDSM club in Manhattan. The two became a couple from that point forward.[114]
In January 1993, P-Orridge and Jaye moved to Ridgewood, Queens, in New York City.[115] Here, they embarked on the "Pandrogeny Project"; influenced by the cut-up technique, the duo underwent body modification to resemble one another, thus coming to identify themselves as a single pandrogynous being named "Breyer P-Orridge".[116][117] In doing so, the pair spent $200,000 on surgical alteration, receiving breast implants, cheek and chin implants, lip plumping, eye and nose jobs, tattooing, and hormone therapy, while also adopting gender neutral and alternating pronouns.[116][118][119] With this project, P-Orridge's intent was to express a belief that the self is pure consciousness trapped within the DNA-governed body.[116] The couple adopted the term "pandrogyne" because – in their words – "we wanted a word without any history or any connections with things – a word with its own story and its own information".[120] They also stated that:
We started out, because we were so crazy in love, just wanting to eat each other up, to become each other and become one. And as we did that, we started to see that it was affecting us in ways that we didn't expect. Really, we were just two parts of one whole; the pandrogyne was the whole and we were each other's other half.[121]
During this era, a book was published of P-Orridge's writings, poems, and observations, called Ooh, You Are Awful ... But I Like You!.[122][failed verification] In the mid-1990s, P-Orridge collaborated with different people in music, including Pigface, Skinny Puppy, and Download. P-Orridge also performed with Nik Turner and other former members of Hawkwind.[123]
In June 1998, P-Orridge won a $1.5 million lawsuit against producer
In 1999, P-Orridge performed with the briefly reunited late-1980s version of Psychic TV for an event at London's
In December 2003, P-Orridge, using the alias Djinn, unveiled PTV3, a new act drawing upon the early "Hyperdelic" work of Psychic TV with media theorist Douglas Rushkoff among its members.[127] On 16 May 2004, all four former members of Throbbing Gristle performed at the London Astoria for the first time in 23 years.
P-Orridge appeared in the 1998 film and 2000 book versions of
In January 2006, the new PTV album was announced on P-Orridge's website.
On 9 October 2007, Lady Jaye Breyer P-Orridge died.[132] The cause of death was heart arrhythmia,[113] a heart condition that was possibly related to stomach cancer. Psychic TV cancelled its North American tour dates in the aftermath of Lady Jaye's death. A memorial was held at the Participant Inc. Gallery in New York City on 8 March 2008 .[133][134] As of January 2013, P-Orridge's official website said:[135]
Since that time Genesis continues to represent the amalgam Breyer P-Orridge in the material 'world' and Lady Jaye represents the amalgam Breyer P-Orridge in the immaterial 'world' creating an ongoing interdimensional collaboration.
Thus, P-Orridge continued the Pandrogyne Project, having further surgical operations to alter their body and using "we" when in reference to themselves; to a reporter P-Orridge admitted that without Lady Jaye:[118]
It's very hard. The bottom line is that we know she [sic] would continue. She wouldn't stop because it was complicated.
From this point, P-Orridge began referring to themselves in the plural in order to keep Breyer's memory alive.[1]
In 2013, Dale Eisinger of
2009–2020: Semi-retirement, illness and death
In September 2009, a retrospective of P-Orridge's collages, entitled "30 Years of Being Cut Up", opened at Invisible-Exports.[118] On 4 November 2009 it was announced that P-Orridge would retire from touring in any and all bands (including Throbbing Gristle and Psychic TV) to concentrate on art, writing and music.[citation needed] In June 2010, P-Orridge sold the Ridgewood property, holding a garage sale in the basement of a local art gallery to sell off a range of personal items, in addition to an array of dildos.[115] This accomplished, P-Orridge moved to a one-bedroom apartment in New York's Lower East Side,[115] and continued producing art in this home.[1]
P-Orridge visited Australia for the first (and only) time in 2012, performing two live shows with Psychic TV; one as part of the Adelaide Festival, and another secret show in Melbourne following a screening of the documentary film The Ballad of Genesis and Lady Jaye.[137][138] P-Orridge returned to regular touring with Psychic TV in 2016, in support of the release of their album Alienist. The tour lasted from mid-September to early December, with concerts in Greece, Israel, Poland, Russia, Ukraine, the United Kingdom and the United States.[139]
In August 2015, P-Orridge gained publicity for an interview critical of Caitlyn Jenner's self-description as a "spokesperson" for the transgender community, stating that Jenner was "clueless" and did not know what life was like for the majority of transgender people around the world.[140] In mid-2016, P-Orridge's artwork was the subject of an exhibition, "Try to Altar Everything", at the Rubin Museum of Art in New York City. The exhibition contained paintings, sculptures, and installations inspired by the Hindu mythology that P-Orridge had encountered in Kathmandu.[141][1][142] In June 2016, P-Orridge was featured as a model in a campaign by the designer Marc Jacobs, who described P-Orridge as "a sort of come-to-life definition of realness and authenticity".[1]
P-Orridge was diagnosed with
Work
"Fusing esoteric ideas with the subversive methods of people like Burroughs and Gysin, P-Orridge and other musicians explored taboo areas and forbidden knowledge in an attempt to create a free-thinking occult culture in which individuals were the resources with which they might be able to carve out their own future[...] What they tried to do with music was wreck the civilization that had rejected and oppressed them. This was occultural direct action – esoterrorism!"
Christopher Partridge, 2013.[151]
Influenced by concepts from both Western esotericism and contemporary Paganism, P-Orridge's work is designed to confront the audience with ways of thinking alien to the mainstream values of Western society.[152] The religious studies scholar Christopher Partridge characterised P-Orridge's work as being a "confluence of pornography, violence, death, degradation, the confrontation of taboo subjects, noise and Paganism", deliberately courting controversy and expressing an anti-establishment stance.[153] Partridge suggested that this intent to shock emerged both out of a serious attempt to highlight the mechanisms of social control in Western society and also out of "a juvenile delight gained from extreme behaviour and the offence caused".[152]
P-Orridge's work was particularly influenced by the early 20th-century English artist and occultist
A further element of P-Orridge's work is their common use of idiosyncratic grammar and spelling, such as "Thee" in place of "the", "ov" in place of "of" and (especially in early writings) "butter" in place of "but". The purpose of this is to challenge thought and established ways of reading.[102]
Personal life
"I'm 38 and for all my faults I have spent most of those 38 years searching determinedly for ideas that work and ideas that help. Not everyone maybe, but some people. If they work and if they make any kind of sense, the only way to check is to give them to other people and see if it works. If it helps one or two or ten or fifteen, that's a massive improvement on what most human beings do in their life to help anyone. If it helps a few hundred or a few thousand, that's incredible."
Genesis P-Orridge, 1989[156]
P-Orridge had two daughters with former wife Paula P-Orridge (born Paula Brooking). An interview with Genesis and Paula P-Orridge appeared in the book RE/Search: Modern Primitives in 1989,[157] and the Icelandic publication Eintak in 1994.[158]
On a religious or spiritual level, Christopher Partridge described P-Orridge as representing "a particularly interesting, influential and subversive example of contemporary paganism".[152] Asserting that their "industrial paganism" was different from most forms of contemporary paganism, Partridge described it as "confrontational, subversive, experimental and, to a large extent, dystopian", with it serving as "an ideological tool" with which to analyse society "from its underbelly; an immersion in the dark side; the subversion of Christian hegemony, conservative politics and what nowadays might be described as neoliberalism".[159] P-Orridge was devoted to the deity Eshu Elegguá, an entity from the Afro-Caribbean syncretic religion of Santería.[160] P-Orridge also stated disbelief in the literal existence of gods, deeming such entities to instead be "early attempts at psychology, trying to understand the light and dark side of human nature".[156]
P-Orridge vociferously criticised contemporary Christianity, describing it as "an incredibly sick social pseudo-religion", and arguing that it was based upon the tenet of "Be good now, agree, or else we will punish you forever and ever when you're dead. And we may punish you while you're alive ..."
In her memoir, Art Sex Music, former bandmate Cosey Fanni Tutti claimed P-Orridge had been abusive during their relationship. P-Orridge denied the allegations.[161]
Reception and legacy
According to New York magazine, P-Orridge became "an icon of the London avant-garde" in 1976.[118] Writing for The New Yorker in 2016, the reporter Hermione Hoby described P-Orridge as a "cult figure"[1] considered to be "a treasure of the avant-garde by global art institutions".[1]
The quote that P-Orridge attributed to their mentor, "I feel your pain, I feel your shame, but you're not to blame", was used as the catchphrase for the Shirley Ghostman psychic clairvoyant character by comedian Marc Wootton.[162]
P-Orridge's mock-cult of TOPY has been criticized as being a front for abuses of power[clarification needed] and developing a cult of personality.[163]
Musician
Musician Trent Reznor cites P-Orridge as a major inspiration behind his work.[113]
Discography
References
Notes
- ^ P-Orridge used a variety of pronouns throughout their life;[2] including first-person plural,[3] and the neopronouns "s/he", "h/er", and "h/erself".[4]
Citations
- ^ a b c d e f g h Hoby, Hermione (29 June 2016). "The Reinventions of Genesis P-Orridge". The New Yorker. Archived from the original on 30 June 2016.
- ^ Roberts 2019.
- ^ Leland, John (9 November 2018). "Genesis P-Orridge Has Always Been a Provocateur of the Body. Now She's at Its Mercy". The New York Times. Retrieved 15 March 2020.
- ^ Hoby, Hermione (2016). "The Reinventions of Genesis Breyer P-Orridge". The New Yorker.
- ^ a b c d e Ford 1999, p. 1.4.
- ^ a b c d e Ford 1999, p. 1.5.
- ^ "Genesis P-Orridge, Known for Art That Transcended Gender, Has Died". artnet News. 16 March 2020. Retrieved 20 March 2020.
- ^ Partridge 2013, p. 193.
- Associated Content.
- ^ Ford 1999, p. 1.7.
- ^ Conscience zine http://www.darkmash.co.uk Archived 8 March 2021 at the Wayback Machine
- ^ a b c d e Ford 1999, p. 1.6.
- ^ Ford 1999, pp. 1.6–1.7; Wilson 2002, pp. 51–52.
- ^ Ford 1999, p. 1.8.
- Daily Telegraph. Archivedfrom the original on 12 January 2022. Retrieved 13 August 2012.
- ^ a b Ford 1999, pp. 1.8–1.9.
- ^ a b Ford 1999, pp. 1.7–1.8.
- ^ a b c Ford 1999, p. 1.10.
- ^ Ford 1999, p. 1.11.
- ^ a b c Ford 1999, p. 1.12.
- ^ Ford 1999, pp. 1.12, 1.14; Wilson 2002, p. 58.
- ^ Ford 1999, p. 1.12; Wilson 2002, p. 58.
- ^ Ford 1999, pp. 1.12–1.14.
- ^ Ford 1999, pp. 1.14–1.15; Wilson 2002, p. 58.
- ^ Ford 1999, p. 1.15; Wilson 2002, p. 58.
- ^ Wilson 2002, p. 58.
- ^ a b c d Ford 1999, p. 1.15.
- ^ a b c d e Ford 1999, p. 1.16.
- ^ a b c d Ford 1999, p. 1.20.
- ^ a b Ford 1999, p. 1.17.
- ^ Ford 1999, pp. 1.17–1.19.
- ^ a b Ford 1999, p. 2.4.
- ^ Ford 1999, p. 2.8.
- ^ Ford 1999, p. 2.11.
- ^ a b Ford 1999, p. 2.6.
- ^ a b Ford 1999, p. 2.7.
- ^ Ford 1999, p. 2.8; Partridge 2013, p. 190.
- ^ Ford 1999, p. 2.9; Wilson 2002, p. 60.
- ^ Ford 1999, pp. 2.10–2.11.
- ^ Ford 1999, p. 2.22.
- ^ a b Ford 1999, pp. 3.3–3.6.
- ^ Ford 1999, pp. 2.13–2.14.
- ^ Ford 1999, p. 2.18.
- ^ Ford 1999, p. 2.19.
- ^ Ford 1999, p. 2.21.
- ^ Ford 1999, pp. 3.7–3.9.
- ^ Ford 1999, pp. 3.9–3.10; Wilson 2002, pp. 60–61.
- ^ Metzger, Richard (31 December 2009). Genesis Breyer P-Orridge: Thee Psychick Bible. Dangerous Minds
- ISBN 0-9713942-7-X
- ^ Ford 1999, pp. 3.11–3.14.
- ^ Ford 1999, pp. 3.14–3.17.
- ^ Ford 1999, pp. 3.17–3.18.
- ^ a b c Ford 1999, p. 4.11.
- ^ Ford 1999, p. 4.5.
- ^ a b Ford 1999, p. 4.9.
- ^ Ford 1999, p. 4.10.
- ^ Ford 1999, pp. 4.10–4.11.
- ^ a b Ford 1999, p. 4.12.
- ^ Ford 1999, pp. 4.13–4.15.
- ^ Ford 1999, p. 4.18.
- ^ Ford 1999, pp. 4.18–4.21.
- ^ Ford 1999, p. 4.22.
- ^ Ford 1999, pp. 4.22–4.25.
- ^ Ford 1999, p. 4.25.
- ^ Ford 1999, p. 4.13.
- ^ Ford 1999, p. 5.4.
- ^ Ford 1999, pp. 5.4, 5.6–5.7.
- ^ Ford 1999, pp. 5.7–5.9.
- ^ Ford 1999, pp. 5.10–5.11.
- ^ Ford 1999, p. 5.15.
- ^ a b Ford 1999, p. 5.16.
- ^ a b Ford 1999, p. 5.17.
- ^ Ford 1999, p. 5.18.
- ^ Ford 1999, pp. 5.19–5.21.
- ^ Ford 1999, p. 5.21.
- ^ House D. (4 April 2009). Genesis P-Orridge Interview, Part I and Part II. RocknRollDating
- ^ a b c d Metzger 2002 p. 150
- ISBN 0-333-22672-0
- ISBN 978-0-87930-607-6.
- ^ ISBN 978-0-7546-0392-4.
- ISBN 978-1-85894-403-6.
- ^ AllMusic. Retrieved 14 February 2012.
- ^ a b Evans 2007, p. 99.
- ^ a b c Baddeley 2010, p. 179.
- ISBN 0199832609)
- ^ a b Daniel 2008, p. 2.
- ^ Daniel 2008, pp. 1–2.
- ^ Partridge 2013, p. 208.
- ^ Evans 2007, p. 100.
- ^ Kansa, Spencer (July 2010). "William S. Burroughs: Rock God". Beatdown (7).
- ISBN 9780879308483.
- ^ "Throbbing Gristle: A taste of P-Orridge". The Independent. 10 December 2004.
- ^ Partridge 2013, p. 210.
- ^ Partridge 2013, pp. 198–199.
- ^ a b Partridge 2013, p. 202.
- ^ AllMusic. Retrieved 14 February 2012.
- ^ a b Partridge 2013, p. 203.
- ISBN 1-887128-88-3
- ^ Baddeley 2010, p. 158.
- ^ a b c Baddeley 2010, p. 156.
- ISBN 9781900486262.
- ^ a b Partridge 2013, p. 201.
- ISBN 978-1-56718-336-8.
- ^ Partridge 2013, p. 204.
- ^ Evans 2007, p. 358.
- ^ Evans 2007, p. 358; Baddeley 2010, p. 157; Partridge 2013, p. 202.
- ^ Baddeley 2010, p. 157.
- ^ Evans 2007, pp. 100–101.
- ^ a b Evans 2007, p. 101; Baddeley 2010, p. 157.
- ^ a b Evans 2007, p. 101.
- ^ i-D Staff (5 October 2016). "The Untold Story Of Thee Temple Ov Psychick Youth Gets The Documentary Treatment". i-D. London, UK. Retrieved 8 May 2020.
- ^ Cush, Andy (4 October 2016). "Watch the Sinister Trailer for a New Documentary About Psychic TV". Spin. New York, NY. Retrieved 8 May 2020.
- ^ a b c Wilkinson, Alec. "Industrial Music for Industrial People: The Singular Legacy of Genesis P-Orridge". The New Yorker. Retrieved 25 March 2020.
- ^ a b "Genesis, Lady Jaye and the Pandrogyne". NPR.org. Retrieved 21 March 2020.
- ^ a b c Camille Dodero (16 February 2011). "Artist Provocateur Genesis Breyer P-Orridge Lives By the Last Exit To Brooklyn". The Village Voice. Village Voice, LLC. Archived from the original on 28 June 2013. Retrieved 30 January 2013.
- ^ a b c Partridge 2013, p. 200.
- Dennis Publishing Limited. Retrieved 30 January 2013.
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Works cited
- Abrahamsson, Carl (2011) [1989]. "An Interview with Genesis P-Orridge". The Fenris Wolf I–3. Stockholm: Edda. pp. 32–50. ISBN 978-91-979534-1-2.
- Ballet, Nicolas, ed. (2018). "Archives and Documents (vol. 1) & Messages and Prophecies (vol. 2)". Genesis Breyer P-Orridge: Nekrophile. Cugnaux: Timeless.
- Baddeley, Gavin (2010). Lucifer Rising: Sin, Devil Worship & Rock n' Roll (third ed.). London: Plexus. ISBN 978-0-85965-455-5.
- Bengala (2002). "The Intuitive Lure of Flesh: Genesis P-Orridge's Erotic Mailart". In Genesis P-Orridge (ed.). Painful But Fabulous: The Lives & Art of Genesis P-Orridge. Brooklyn, New York City: Soft Skull Shortwave. pp. 111–117. ISBN 978-1887128889.
- Cecil, Paul (2002). "Even Further: The Metaphysics of Sigils". In Genesis P-Orridge (ed.). Painful But Fabulous: The Lives & Art of Genesis P-Orridge. Brooklyn, New York City: Soft Skull Shortwave. pp. 121–130. ISBN 978-1887128889.
- Cogan, Brian (2008). ""Do They Owe Us a Living? Of Course They Do!" Crass, Throbbing Gristle, and Anarchy and Radicalism in Early English Punk Rock". Journal for the Study of Radicalism. 1 (2): 77–90. S2CID 143586670.
- Cusack, Carole M. (2011). "Discordian Magic: Paganism, the Chaos Paradigm and the Power of Imagination". International Journal for the Study of New Religions. 2 (1). doi:10.1558/ijsnr.v2i1.125. Archived from the originalon 16 October 2014. Retrieved 12 October 2014.
- Daniel, Drew (2008). Throbbing Gristle's Twenty Jazz Funk Greats. London: Continuum. ISBN 978-1-4411-1325-2.
- Evans, Dave (2007). The History of British Magick After Crowley. n.p.: Hidden Publishing. ISBN 978-0-9555237-0-0.
- Ford, Simon (1999). Wreckers of Civilisation: The Story of COUM Transmissions & Throbbing Gristle. Black Dog Publishing. ISBN 978-1-901033-60-1.
- Keenan, David (2003). England's Hidden Reverse: A Secret History of the Esoteric Underground. London: SAF.
- Metzger, Richard (2002). Disinformation: The Interviews. The Disinformation Company Ltd. ISBN 978-0-9713942-1-6.
- Neal, Charles, ed. (1987). Tape Delay: Confessions from the Eighties Underground. SAF Publishing Ltd. pp. 93–103. ISBN 978-0-946719-02-0– via the Internet Archive.
- Partridge, Christopher (2013). "Esoterrorism and the Wrecking of Civilization: Genesis P-Orridge and the Rise of Industrial Paganism". In Donna Weston; Andy Bennett (eds.). Pop Pagans: Paganism and Popular Music. Durham: Acumen. pp. 189–212. ISBN 978-1844656479.
- Roberts, Randall (23 October 2019). "Genesis P-Orridge shares their vision for 'gender evolution,' possibly for the last time". Los Angeles Times. Retrieved 15 March 2020.
- Wilson, Julie (2002). "As It Is". In Genesis P-Orridge (ed.). Painful But Fabulous: The Lives & Art of Genesis P-Orridge. Brooklyn, New York City: Soft Skull Shortwave. pp. 51–110. ISBN 978-1887128889.
External links
- Genesis P-Orridge – official site
- Genesis P-Orridge discography at Discogs
- Genesis P-Orridge at IMDb
- Breyer P-Orridge via InvisibleExports gallery
- Genesis P. Orridge interview on RocknRollDating
- Genesis P. Orridge interview on the podcast Love + Radio