Wikipedia

Genesis P-Orridge

Genesis Breyer P-Orridge(bornNeil Andrew Megson;22 February 1950 – 14 March 2020) was an English singer-songwriter, musician, poet, performance artist, visual artist, andoccultistwho rose to notoriety as the founder of theCOUM Transmissionsartistic collective and lead vocalist of seminalindustrialbandThrobbing Gristle.They were also a founding member ofThee Temple ov Psychick Youthoccult group, and fronted the experimentalpop rockbandPsychic TV.

Genesis P-Orridge
P-Orridge in 2014
Born(1950-02-22)22 February 1950
Manchester,England
Died14 March 2020(2020-03-14)(aged 70)
New York City, US
Other namesGenesis Breyer P-Orridge, DJ Doktor Megatrip, Megs'on, P. Ornot, PT001, Vernon Castle
Occupation(s)Singer-songwriter, musician, poet, writer, performance artist
Years active1965–2020
Spouses
​
​
(m.1981;div.1992)​
Jacqueline Breyer
​
​
(m.1995⁠–⁠2007)​
Children2
Musical career
GenresExperimental,industrial,avant-garde,electronic, psychedelic
Instrument(s)Vocals, bass guitar
LabelsIndustrial,Temple Records,Wax Trax!
Websitewww.genesisporridge

Born inManchester,P-Orridge developed an early interest in art, occultism, and theavant-gardewhile atSolihull School.After dropping out of studies at theUniversity of Hull,they moved into a counter-cultural commune in London and adoptedGenesis P-Orridgeas their pseudonym. On returning to Hull, they founded COUM Transmissions withCosey Fanni Tutti,and in 1973 they relocated to London. COUM's confrontationalperformance work,dealing with such subjects assex work,pornography,serial killers,andoccultism,represented a concerted attempt to challenge societal norms and attracted the attention of the national press. COUM's 1976Prostitutionshow at London'sInstitute of Contemporary Artswas particularly vilified bytabloids,gaining them the moniker of the "wreckers of civilisation." P-Orridge's band, Throbbing Gristle, grew out of COUM, and were active from 1975 to 1981 as pioneers in the industrial music genre. In 1981, P-Orridge co-founded Psychic TV, an experimental band that from 1988 onward came under the increasing influence ofacid house.

In 1981, P-Orridge co-foundedThee Temple ov Psychick Youth,an informal occult order influenced bychaos magicand experimental music. P-Orridge was seen as the group's leader, but rejected that position, and left the group in 1991. Amid theSatanic ritual abusehysteria, a 1992Channel 4documentary accused P-Orridge ofsexually abusing children,resulting in a police investigation. P-Orridge was subsequently cleared and Channel 4 retracted their allegation. As a result of the incident, P-Orridge left the United Kingdom for the United States and settled in New York City. There, they married Jacqueline Breyer, later known as Lady Jaye, in 1995, and together they embarked on the Pandrogeny Project, an attempt to unite as a "pandrogyne", or single entity, through the use of surgicalbody modificationto physically resemble one another. P-Orridge continued with this project of body modification after Lady Jaye's 2007 death. Although involved in reunions of both Throbbing Gristle and Psychic TV in the 2000s, they retired from music to focus on other artistic media in 2009.

P-Orridge was credited on over 200 releases during their lifetime. They were cited as an icon within the avant-garde art scene, accrued acult 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

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1950–1964: Childhood

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Genesis P-Orridge was born on 22 February 1950 inVictoria Park,Manchester, to Ronald and Muriel Megson.[5]Ronald was a travelling salesman who had worked inrepertory theatreand who played the drums in localjazzand dance bands.[5]Muriel was fromSalfordand had first met Ronald after he returned to England after being injured with the British Army at theBattle of Dunkirkin 1940.[5]As a child, they had a good relationship with their parents, who did not interfere with their artistic interests.[5]

Due to Ronald's job, the family moved toEssex,where they attended Staples Road Infant School inLoughton,and for a time lived in acaravannear toEpping Forestwhile the family house was being completed.[5]The family then moved from Essex toCheshire,where they attended Gatley Primary School. Passing the11-plusexam, they won a scholarship to attendStockport Grammar School,doing so between 1961 and 1964.[6]

1964–1968: Solihull School and Worm

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After their father became theMidlandsarea manager of a cleaning and maintenance business, they were sent to the privately runSolihull Schoolin Warwickshire between 1964 and 1968; a period they would refer to as "basically four years of being mentally and physically tortured", but also a time when they developed an interest in art, occultism and the avant-garde.[6]At age fifteen, they became a fan of "The Hundred Headless Woman," a book that containedsurrealistcollages by various artists, includingMax Ernst.The book became an early source of inspiration, and it was at that time that they took on the name "P-Orridge."[7]

Unpopular with other pupils, they were bullied at the school, finding comfort in the art department at lunch-time and in the evenings.[6]They befriended Ian "Spydeee" Evetts, Barry "Little Baz" Hermon and Paul Wolfson, three fellow pupils who shared their interest in art, literature, and poetry.[6]They regularly discussed books and music, developing an interest in the writings ofAleister Crowley,William S. Burroughs,Jack KerouacandAllen Ginsbergand the music ofFrank Zappa,the Fugsandthe Velvet Underground.[6]They became interested inoccultism,[8]and also asserted that their grandmother was amedium.[9]

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 byAMMandJohn Cage's 1961 bookSilence: Lectures and Writings.[10]In 1966, P-Orridge, Evetts, Hermon, Wolfson, and Winstanley began production of anunderground magazine,entitledConscience.[11]Forbidden from selling it on school grounds, they sold copies outside the school gates.[12]Included inConsciencewere various articles criticising the school's administration, leading to proposed changes regarding such issues as school uniforms and prefects (known as benchers) privileges.[12]That same year, influenced by newspaper accounts of "Swinging London",they organised the firsthappeningat the school, doing so under the auspices of organising a school dance.[12]

Solihull School,which P-Orridge attended in the mid-1960s

Brought up in theAnglicandenomination of Christianity, P-Orridge became secretary of the schoolsixth form's Christian Discussion Circle, in this position inviting members of other ideological positions – including aMarxistfrom theBritish Communist Party– to speak to the group.[12]Aged 18, P-Orridge began helping to run the local Sunday school classes, but came to reject organised Christianity.[12]Afflicted withasthmathroughout childhood, P-Orridge had to takecortisoneandprednisonesteroidsto control the attacks. The latter of these drugs caused theiradrenal glandsto atrophy as a side-effect, and so the doctor advised P-Orridge to stop taking them. As a result, aged 17, P-Orridge suffered from a seriousblackout;while in hospital recovering they decided to devote their life to art and writing.[13]

With Hermon and Wolfson, P-Orridge founded a group called the Knights of the Pentecostal Flame.[14][15]The Knights undertook ahappeningon 1 June 1968 which they titledBeautiful Litter.Taking place in Mell Square,Solihull,it involved the three students handing out cards to passersby that had a series of words written onto them; "fleece", "rainbow", "silken", "white", "flower" and "dewdrops".[16]Ensuring that the localSolihull Newswas informed of the event, P-Orridge told reporters that the Knights wanted to ignite "an artistic revolution in Solihull, by making people aware of the life around them, its essential beauty and tranquillity."[16]In mid-1968, Worm recorded their first and only album, entitledEarly Worm,in P-Orridge's parents' attic in Solihull. It was pressed ontovinylin November at Deroy Sound Services in Manchester, but only one copy was ever produced.[17]A second album,Catching the Bird,was recorded but never pressed.[17]

1968–1969: Hull University and Transmedia Explorations

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In September 1968, P-Orridge began studying for a degree in Social Administration and Philosophy at theUniversity 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 entitledWormwhich waived all editorial control, publishing everything placed into the magazine'spigeonhole,including instructions on how to build amolotov cocktail.[18]Three issues were published between 1968 and 1970 before the Hull Student's Union banned the publication, considering itlegally obsceneand 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 poetPhilip 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 theworldwide 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,[21]and joined the Transmedia Explorations commune, who were then living in a large run-down house inIslington Park Street.[20]The group, initiated by the artistDavid Medallaand initially named the Exploding Galaxy, had been at the forefront of the Londonhippyscene since 1967, but had partially disbanded after a series of police raids and a damaging court case.[22]Moving into their commune, P-Orridge was particularly influenced by one of the founding members of the group, Gerald Fitzgerald, akinetic artist,and would recognise Fitzgerald's formative influence in P-Orridge's later work.[23]The commune members adhered to a strict regime with the intention ofdeconditioningits members out of their routines and conventional behaviour; they were forbidden from sleeping in the same place on consecutive nights, food was cooked at irregular times of the day and all clothing was kept in a communal chest, with its members wearing something different on each day.[24]P-Orridge stayed there for three months, until late October 1969. They left after becoming angered that the commune's leaders were given more rights than the other members and believing that the group ignored the counter-cultural use of music, something they took a great interest in.[25]Julie Wilson later stated that although P-Orridge's time at the Transmedia Explorations commune had been brief, "the experiences (they) had there proved to be seminal" to their artistic development.[26]

COUM Transmissions

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1969–1970: Founding COUM Transmissions

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Leaving London, P-Orridge hitch-hiked across Britain before settling down in a new home inShrewsbury.[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 "dada"it should remain open to interpretation.[28]P-Orridge designed a logo for the group, consisting of a semi-erect penis formed out of the word COUM with a drip ofsemencoming out of the end, while the motto "Your Local Dirty Banned" (a pun on "band" ) was emblazoned underneath.[28]Another logo designed by P-Orridge consisted of a hand-drawn seal accompanied by the statement "COUM guarantee disappointment"; from their early foundation, the group made use ofwordplayin their artworks and adverts.[28]

COUM's earliest public events were impromptu musical gigs performed at various pubs around Hull; titles for these events includedThee Fabulous Mutations,Space Between the Violins,Dead Violins and Degradation,andClockwork Hot Spoiled Acid Test.[28]The latter combined the names ofAnthony Burgess' dystopian science-fiction novelA Clockwork Orange(1962) withTom Wolfe'sThe Electric Kool-Aid Acid Test(1968), a work of literary journalism devoted to theMerry Pranksters,a US communal counter-cultural group who advocated the use ofpsychedelic 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 theHumber.[30]Named the Ho-Ho Funhouse by P-Orridge, the warehouse became the communal home to an assortment of counter-cultural figures, including artists, musicians, fashion designers and underground magazine producers.[30]At Christmas 1969, a woman named Christine Carol Newby moved into the Funhouse after being thrown out of her home by her father. Having earlier befriended them at anacid testparty, Newby became P-Orridge's roommate at the Funhouse, first taking the name Cosmosis, but latterly adopting the stage nameCosey Fanni Tuttiafter the title ofAmadeus Mozart's 1790 operaCosì fan tutte.[31]Joining COUM, Tutti initially helped in building props and designing costumes, and was there when the group began including performance art and more theatrical happenings in its music events; Evetts, aka Spydeee Gasmantell, after being expelled from Solihull School joined COUM.[29]The three of them lived in a derelict Georgian warehouse in Prince Street, Hull.[29]An example performance involved the group turning up to play a gig but intentionally not bringing any instruments, something P-Orridge considered "much more theatrical, farcical and light-hearted" than their earlier performances.[29]

1971–1973: Activities in Hull

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On 5 January 1971, P-Orridge underwent a legal name change to Genesis P-Orridge bydeed poll,combining the adopted nickname Genesis with an altered spelling ofporridge,the foodstuff which they had lived off as a student. The new name was intentionally un-glamorous, and they hoped that it would trigger a personal "genius factor".[32]In February, COUM caught the attention ofThe Yorkshire Post,which featured an article on them that led to further media attention from national newspapers.[32]They also featured in an article inTorch,the publication of the University of Hull's student union, entitled "God SucksMary's Hairy Nipple "; the article's author, Haydn Robb (nowadays known as Haydn Nobb), subsequently joined COUM,[33]as did maths lecturerTim Poston.[34]In April 1971, COUM, consisting of P-Orridge and Gasmantell, broadcast their first live radio session, for theOn Cueprogramme forRadio Humberside.[35]Following up the press attention they received, they performed further happenings, including their first street action,Absolute Everywhere,which brought problems with the police.[35]

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 supportedHawkwindat St. George's Hall inBradfordin October 1971, where they performed a piece calledEdna 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 journalistJohn 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,[38]COUM described themselves as performance artists, being inspired by the Dadaists and emphasising the amateur quality of their work.[39]They entered the National Rock/Folk Contest at Hull's New Grange Club with a set titledThis Machine Kills Music,[40]and organised events forHull City Council's celebrations to mark the UK's entry into theEuropean Economic Communityin 1973.[41]They had also worked on solo projects, generating controversy in the local press over aconceptual artworkthe artist entered at a local exhibition.[41]Taking an increasing interest ininfantilism,P-Orridge founded the fictitious L'ecole de l'art infantile and co-organised the "Baby's Coumpetition" [sic] atOxford University's 1973 May Festival, also producing material as the fictitious Ministry of Antisocial Insecurity, a parody of theMinistry of Social Security.[42]Meanwhile, P-Orridge created the character of Alien Brain, and in July 1972, performed as the character at an event entitled theWorld Premiere of the Alien Brain,at Hull Arts Centre.[43]COUM also began publishing books; in 1972, they brought out the first volume ofThe Million and One Names of COUM,part of a proposed project to release 1001 slogans (such as "A thousand and one ways to COUM" and "COUM are Fab and Kinky" ),[44]while in 1973 P-Orridge publishedCopyright Breeches,which explored an ongoing personal fascination with thecopyright symboland its implications for art and society.[45]

1973–1975: London and growing fame

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Following continual police harassment, P-Orridge and Tutti relocated to London, moving into a squat and obtaining a basement studio inHackneywhich they named the "Death Factory".[46]After a brief correspondence, P-Orridge met American novelist and poetWilliam S. Burroughs.[47][48]Brion Gysinwould become a major influence upon P-Orridge's ideas and works and was the latter's primary tutor inspiritual magic.[49]1973 saw COUM take part in theFluxshoeretrospective that toured Britain exhibiting the work of theFluxusartists; it was organised by David Mayor, who befriended P-Orridge.[50]At that year'sEdinburgh Festival,P-Orridge undertook aMarcel Duchamp-inspired performance art piece,Art Vandals,at theRichard Demarco Gallery,engaging guests in unconventional conversation, and spilling their food and drink on the floor. Exhibiting alongside theViennese Actionists,P-Orridge came under increasing influence from these Austrian performance artists, adopting their emphasis on using shock tactics to combat conventional morality.[51]P-Orridge's first film,Wundatrek Tours,was released in September 1973, and documented a day out to Brighton. Throughout the year the artist sent personally designed postcards to mail-art shows across the world.[52]

"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 artistClive Robertsonto produceMarcel Duchamp's Next Work,which they premiered at an arts festival in the Zwarte ZaalRoyal Conservatory of GhentinGhent,Belgium.[54]COUM's next major work wasCouming of Age,performed in March 1974 at theOval HouseinKennington,South London.[55]After the show, they were approached by an audience member,Peter Christopherson,who shared many of their interests; P-Orridge and Tutti nicknamed him "Sleazy" because of the former's particular interest in the sexual aspects of COUM's work.[55]Christopherson began to aid them using their skills as a photographer and graphic designer, and would first perform with them in their March 1975 workCouming of Youth.[56]In May 1974, COUM issued a manifesto published on anA3double-sided sheet titledDecoumpositions and Events.[57]

In April 1974, theArts Council of Great Britaingave 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) inCovent 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 titledFilth,P-Orridge and Tutti performed sexual acts using a double-endeddildo.[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 inBrook 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 inRottweil,West Germany,and they proceeded with a travel grant from theBritish Council.[62]There, they published two performance art actions in the street, earning them praise fromBridget RileyandErnst 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 atSt. James Press,in which they helped to compile theContemporary Artistsreference book. The work meant that they had less time to devote to COUM but gained a wide range of contacts in the art world.[66]During that year, COUM embarked on a series of five performance pieces which it termedOmissions;these were performed across Europe.[67]In March 1975, COUM performedCouming of Youthat theMelkwegin Amsterdam. Adopting a more violent stance than their previous work – in this reflecting an influence from the Viennese Actionists – the performance involved self-mutilation, Cosey inserting lighted candles into her vagina, P-Orridge being crucified and whipped, and P-Orridge and Cosey having sexual intercourse.[68]AtSouthampton'sNuffield Festivalin July 1975, COUM performedStudio of Lust,where P-Orridge publicly masturbated and all of the members undressed and adopted sexual poses.[69]

1975–1976: Establishing Throbbing Gristle and theProstitutionshow

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COUM were introduced toChris Carterin 1975 through their mutual friend John Lacey. Lacey believed that Carter would be interested in COUM as a result of his particular interest in the experimental use of light and sound.[70]Together, Carter, Christopherson, Cosey and P-Orridge founded a musical band, Throbbing Gristle, on 3 September 1975; they had deliberately chosen that date for it was the 36th anniversary of the United Kingdom joining theSecond World War.[71]The term "throbbing gristle" was deliberately chosen for it was a Yorkshire slang term for an erect penis.[71]Throbbing Gristle, or TG as it was widely known, was aimed at a wider audience than COUM, thereby aiming to work within popular culture rather than the elite realm of the art scene.[72]COUM and TG were largely treated as distinct entities; the music press ignored COUM and saw TG as experimentalart rock,while the arts press ignored TG, viewing COUM as performance artists.[72]Despite their intention of operating within the realms of popular culture, TG never had chart success, and remained acult band;their audience was far larger than COUM.[73]

COUM continued to operate alongside TG, and in October 1975 they performedJusquà la balle crystalat 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'smail arthad 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 the1953 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]

TheirProstitutionshow, in 1976 at theInstitute of Contemporary Arts(ICA) in London, included displays of Tutti's pornographic images from magazines as well as erotic nude photographs;[77]the show featured a stripper, usedtamponsin glass,[77]andtransvestiteguards. Prostitutes,punks,and people in costumes were among those hired to mingle with the gallery audience. The show caused debate inParliamentabout the public funding of such events. In theHouse of Commons,ScottishConservativeMP SirNicholas Fairbairndemanded an explanation from Arts MinisterHarold Leverand proclaimed P-Orridge and Tutti as "wreckers of civilisation".[78]Fleet Streetwas not slow to pick up the story. The reviews were cut up, framed, and put on display for the remainder of the exhibition.[77]This was also reported in newspapers, so cut-ups about the cut-ups were also put on display.[77]COUM was found so offensive that it lost its government grant,[79]and went on to become the private companyIndustrial Records.[80]Toward the end of COUM, performances would often consist of only P-Orridge, Cosey and Sleazy, the core group who went on to formThrobbing Gristle.[81]

Throbbing Gristle

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Throbbing Gristlewas formed in late 1975[82]as a four-piece band, consisting of P-Orridge,Cosey Fanni Tutti,Peter "Sleazy" ChristophersonandChris Carter.[82]The name "Throbbing Gristle" was adopted after a Northern English slang term for an erect penis.[83]P-Orridge's involvement in Throbbing Gristle led to the artist being regularly cited as the "Godfather ofIndustrial Music",[84]or in some later sources, "godparent".[1]

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 ofIndustrial Records(IR). Throbbing Gristle released "Discipline"in 1980.[85]TG came to be identified as the founders ofindustrial 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 "Zyklon B Zombie"(1978), the title being a reference to theZyklon Bpoison gas used atAuschwitz extermination camp.[88]With their album20 Jazz Funk Greatsthey attempted to move away from their industrial sound, and produced songs in a variety of different musical genres.[86]P-Orridge received a number of threatening phone calls, proceeding to record them and use them as a backing track for the TG song "Death Threats".[89]

The final IR release was calledNothing Here Now But the Recordings,a best-of album taken from the archives ofWilliam 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 theKezar Pavilionin San Francisco.[91]Shortly after the San Francisco event, P-Orridge andPaula Brookingwere 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 monikerDavid Tibet,[93]which Bunting adopted as a stage name. Through an introduction provided by Burroughs, P-Orridge metBrion Gysinin Paris, probably in 1980, coming to be deeply influenced by Gysin'scut-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

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Genesis P-Orridge posing in Japan
Main articles:Psychic TVandThee Temple ov Psychick Youth

Following the break-up of Throbbing Gristle, in 1981 P-Orridge founded a band withPeter ChristophersonandAlex Fergussonthat 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 akangling,or Tibetan trumpet made out of a human thigh-bone; the instrument had been introduced to P-Orridge byDavid Tibet,and attracted attention to their music.[97]P-Orridge had become acquainted withAnton LaVey,founder of theChurch of Satanand ideologue ofLaVeyan Satanism,[99]with LaVey making an appearance on the Psychic TV song "Joy", in which he recites theLord's Prayerbackwards.[84]From 1988, the band came under the increasing influence of theacid housegenre 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, calledThe Final Academy.It was a 4-day multimedia celebratory rally held in Manchester and at theRitzy Cinemain Brixton, South London. It brought performers and audience together with literature, performance, film and music. PTV,Cabaret Voltaire,23 Skidoo,Z'EV,John Giorno,William S. Burroughs,Brion Gysin,Terry Wilson,Jeff Nuttall,and the Last Few Days participated to honour the cut-up techniques and theories ofWilliam S. Burroughs,Ian Sommerville,Antony Balchand Gysin. Video projection and earlysamplingwere used here, as well as whispered utterances by P-Orridge reprocessed as a soundtrack to Gysin'sDreammachineby theHafler Trio.[101]In the mid-1980s, Psychic TV aimed to release a live album on the 23rd of each month for 23 months[96]in recognition ofthe 23 Enigma.The group did not reach its goal but still managed fourteen albums in eighteen months, thus earning them an entry in theGuinness Book of World Records.[96]Following the culmination of Psychic TV but before embarking on Thee Majesty, P-Orridge and several Psychic TV musicians formed Splinter Test, a name adopted from one of P-Orridge's essays on sampling.[102]

In 1981,[100]P-Orridge also founded a loosely organised network of occultists namedThee Temple ov Psychick Youth(TOPY), with the aid ofJohn Balance,Tibet, and a number of members of theProcess Church of the Final Judgement,a group which had exerted an influence on P-Orridge's occult thought.[95][103]TOPY was conceived not as an occult order of teaching, but a forum to facilitate discussions on occult ideas by like-minded people, and from its beginnings was understood by its founders to be a successor to the late 19th and early 20th centuryOrdo Templi Orientis(OTO), especially as the latter had been run under Crowley's leadership.[104]Evans described TOPY as "a 'fusion' organisation, creating a crossover of punk/experimental music withchaos magicalthinking and practice ", making particular use of the sigilisation practices of occult artistAustin Osman Spare.[105]Journalist Gavin Baddeley described TOPY as "perhaps the most influential new occult order of the 1980s".[100]P-Orridge had never wanted to be seen as the leader of an occult order, although many of those involved in TOPY were frustrated that outsiders regularly described P-Orridge as the group's leader. Accordingly, P-Orridge separated from TOPY in 1991, although it continued as a fan community after the departure.[106]

Having been encouraged by groups involved in propagating themoral panicabout allegedSatanic ritual abuse,[107]theChannel 41992 documentary showDispatchesclaimed to have discovered videotapes depicting P-Orridge sexually abusing children in a ritual setting.[108]Police from theObscene Publications Squadsubsequently raided P-Orridge's home, and confiscated several tonnes of art work.[109]At the time, P-Orridge was inThailandundertakingfamine reliefwork; fearing arrest and loss of child custody upon return to the UK, P-Orridge stayed out of the country for several years, settling in the United States.[109]P-Orridge believed that the negative press and police attention were the result of a campaign organised by a Christian group.[110]It was subsequently revealed that the footage obtained did not depict child abuse. Instead, it was a video artwork titledFirst Transmissionsthat had been made in the early 1980s, partially funded by Channel 4 itself; the footage depictedsex-magicrites between adults,bloodlettingperformances, and scenes of the filmmakerDerek Jarmanreading passages from the work ofGeoffrey Chaucer.Embarrassed by these revelations, Channel 4 retracted its initial accusations.[110]

In 2016, the film directorJacqueline Castelbegan work on the feature-length documentary titledA Message from the Temple,about Thee Temple Ov Psychick Youth and P-Orridge.[111][112]

Later life

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1993–2009: The Pandrogeny Project

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At 45 years of age P-Orridge met Lady Jaye (née Jacqueline Breyer) in aBDSM dungeonin 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 adominatrixat 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 toRidgewood,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, calledOoh, You Are Awful... But I Like You!.[122][failed verification]In the mid-1990s, P-Orridge collaborated with different people in music, includingPigface,Skinny Puppy,andDownload.P-Orridge also performed withNik Turnerand other former members ofHawkwind.[123]

PTV3 live in Germany 2004: Alice Genese, G. P-Orridge, Markus Persson

In June 1998, P-Orridge won a $1.5 million lawsuit against producerRick Rubinand hisAmerican Recordingslabel for injuries sustained while trying to escape a fire at Rubin's home in April 1995.[124]According to P-Orridge's attorney, David D. Stein, P-Orridge was staying at Rubin's home, as a guest ofLove and Rockets,when the fire broke out. P-Orridge tried to escape the house by crawling through a second-storey window and fell onto concrete stairs. P-Orridge suffered a broken wrist, broken ribs, and apulmonary embolism,as well as a shattered left elbow that, according to Stein, prevented P-Orridge from playing bass or keyboards. They remained in hospital for a total of ten days.[124]The jury found that the liability for the fire rested with Rubin and American Recordings, and awarded P-OrridgeUS$1,572,000 in compensation.[125]

In 1999, P-Orridge performed with the briefly reunited late-1980s version of Psychic TV for an event at London'sRoyal Festival Hall,calledTime's Up.The MC for the event, via pre-recorded video, wasQuentin Crisp,it was recorded andreleased as a DVD.[126]Time's Upis also the title of the first CD byThee Majesty,P-Orridge's spoken-word project with "noise" guitarist, Bryin Dall.

In December 2003, P-Orridge, using the aliasDjinn,unveiled PTV3, a new act drawing upon the early "Hyperdelic" work of Psychic TV with media theoristDouglas Rushkoffamong its members.[127]On 16 May 2004, all four former members of Throbbing Gristle performed at theLondon Astoriafor the first time in 23 years.

P-Orridge appeared in the 1998 film and 2000 book versions ofModulations,as well as appearing in the 1999 filmBetter Living Through Circuitry,the 2004 filmDiG!,Bruce LaBruce's 2004 filmThe Raspberry Reich,the 2006 documentaryMonks: The Transatlantic Feedback,in Nik Sheehan's 2007 feature documentary on theDreamachineentitledFLicKeR,the 2010 documentaryWilliam S. Burroughs: A Man Within,[128]and the 2011 filmThe Ballad of Genesis and Lady Jaye.[129]

In January 2006, the new PTV album was announced on P-Orridge's website.Hell Is Invisible... Heaven Is Her/ewas recorded in NYC and featuresNick Zinner(Yeah Yeah Yeahs) andGibby Haynes(Butthole Surfers) guesting on some tracks. To inaugurate the release ofHell Is Invisible... Heaven Is Her/e,PTV3 hosted a five night residency in September 2006 at Galapagos Art Space inWilliamsburg, Brooklyn,New York.[130]Mr. Alien Brain Vs. the Skinwalkerswas released on Sweet Nothing Records on 8 December 2008.[118][131]

Genesis P-Orridge in 2004

On 9 October 2007, Lady Jaye Breyer P-Orridge died.[132]The cause of death washeart 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 ofComplexranked the Pandrogeny project the greatest work of performance art ever.[136]

2009–2020: Semi-retirement, illness and death

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In September 2009, a retrospective of P-Orridge's collages, entitled "30 Years of Being Cut Up", opened atInvisible-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 ofdildos.[115]This accomplished, P-Orridge moved to a one-bedroom apartment in New York'sLower 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 filmThe 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 albumAlienist.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 ofCaitlyn 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 theRubin Museum of Artin New York City. The exhibition contained paintings, sculptures, and installations inspired by theHindu mythologythat P-Orridge had encountered inKathmandu.[141][1][142]In June 2016, P-Orridge was featured as a model in a campaign by the designerMarc Jacobs,who described P-Orridge as "a sort of come-to-life definition of realness and authenticity".[1]

P-Orridge was diagnosed withchronic myelomonocytic leukaemiain October 2017,[143]and died in New York City on 14 March 2020, aged 70.[144][145][146]P-Orridge's memoir,Nonbinary,was published a year later, in June 2021,[147][148][149]a project P-Orridge had been working on in collaboration with writerTim Mohrfor several years, according to theNew York Times.[150]

Work

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"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 bothWestern esotericismandcontemporary Paganism,P-Orridge's work is designed to confront the audience with ways of thinking alien to the mainstream values of Western society.[152]Thereligious studiesscholarChristopher Partridgecharacterised 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 ofsocial controlin 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 occultistAustin Osman Spare,who shared their disdain for mainstream morality and fascination with sexuality and the human body.[154]P-Orridge adopted Spare's views onsigils,coming to see their own work as a form of sigil magic.[155]Spare's sigilisation process entailed writing down one's desires, before crossing out any letters that are repeated and then combining the remaining letters into an abstract design, or sigil; the magician must then focus on that sigil and mentally absorb it, and – according to Spare's claims – psychic energies operating on the subconscious ensure that the original desire is manifested in reality. P-Orridge adopted this theory, believing that their work operates according to its principles.[155]

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

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"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 wifePaula P-Orridge(born Paula Brooking). An interview with Genesis and Paula P-Orridge appeared in the bookRE/Search: Modern Primitivesin 1989,[157]and the Icelandic publicationEintakin 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 asneoliberalism".[159]P-Orridge was devoted to the deityEshu Elegguá,an entity from the Afro-Caribbean syncretic religion ofSantería.[160]P-Orridge also stated disbelief in the literal existence ofgods,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..."[156]P-Orridge maintained that such an attitude was established in Christianity bySt. Pauland the early Roman Catholic Church, and that it differed from the "ecstatic mysticism of the original Christianity, theGnostic Christianity".[156]

In her memoir,Art Sex Music,former bandmateCosey Fanni Tutticlaimed P-Orridge had been abusive during their relationship. P-Orridge denied the allegations.[161]

Reception and legacy

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According toNew Yorkmagazine, P-Orridge became "an icon of the London avant-garde" in 1976.[118]Writing forThe New Yorkerin 2016, the reporterHermione Hobydescribed 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 theShirley Ghostmanpsychic clairvoyant character by comedianMarc Wootton.[162]

P-Orridge's mock-cult of TOPY has been criticized as being a front for abuses of power[clarification needed]and developing acult of personality.[163]

MusicianElectrosexualandSyrian Germanindustrial/technoartistHanin Elias,founding member ofAtari Teenage Riot,recorded a cover version ofHot on the Heels of Love[164]with all proceeds from the sales of both the CD and digital versions going to aid Genesis P-Orridge and their battle against leukemia.

MusicianTrent Reznorcites P-Orridge as a major inspiration behind his work.[113]

In 2022, writer Christophe Becker published an essay discussing P-Orridge's relationship with American writerWilliam S. Burroughsand their influence on his work,Géométrie de la Souffrance, Genesis P-Orridge + William S. Burroughs.[165]

Discography

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See also:Throbbing Gristle discography,Psychic TV discography,Splinter Test § Discography,andThee Majesty § Discography

Exhibitions

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The first major posthumous presentation in Europe of the work of Genesis Breyer P-Orridge was organized jointly by DOX Centre for Contemporary Art and New Discretions (New York) in 2023-2024.

  • 2023/2024It Is a Painful Thing to Be Alone: We Are But One,DOX - Centre for Contemporary Art, Prague[166]

References

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Notes

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  1. ^P-Orridge used a variety of pronouns throughout their life;[2]including first-person plural,[3]and theneopronouns"s/he", "h/er", and "h/erself".[4]

Citations

edit
  1. ^abcdefghHoby, Hermione (29 June 2016)."The Reinventions of Genesis P-Orridge".The New Yorker.Archivedfrom the original on 30 June 2016.
  2. ^Roberts 2019.
  3. ^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.Retrieved15 March2020.
  4. ^Hoby, Hermione (2016)."The Reinventions of Genesis Breyer P-Orridge".The New Yorker.
  5. ^abcdeFord 1999,p. 1.4.
  6. ^abcdeFord 1999,p. 1.5.
  7. ^"Genesis P-Orridge, Known for Art That Transcended Gender, Has Died".artnet News.16 March 2020.Retrieved20 March2020.
  8. ^Partridge 2013,p. 193.
  9. ^Forish, E. Jayne (29 March 2007). "The Life of Genesis P-Orridge: Father of Industrial Music".Associated Content.
  10. ^Ford 1999,p. 1.7.
  11. ^Conscience zinehttp:// darkmash.co.ukArchived8 March 2021 at theWayback Machine
  12. ^abcdeFord 1999,p. 1.6.
  13. ^Ford 1999,pp. 1.6–1.7;Wilson 2002,pp. 51–52.
  14. ^Ford 1999,p. 1.8.
  15. ^Wolfson, Richard (19 December 2002)."Naughty but Nice".Daily Telegraph.Archivedfrom the original on 12 January 2022.Retrieved13 August2012.
  16. ^abFord 1999,pp. 1.8–1.9.
  17. ^abFord 1999,pp. 1.7–1.8.
  18. ^abcFord 1999,p. 1.10.
  19. ^Ford 1999,p. 1.11.
  20. ^abcFord 1999,p. 1.12.
  21. ^Ford 1999,pp. 1.12, 1.14;Wilson 2002,p. 58.
  22. ^Ford 1999,p. 1.12;Wilson 2002,p. 58.
  23. ^Ford 1999,pp. 1.12–1.14.
  24. ^Ford 1999,pp. 1.14–1.15;Wilson 2002,p. 58.
  25. ^Ford 1999,p. 1.15;Wilson 2002,p. 58.
  26. ^Wilson 2002,p. 58.
  27. ^abcdFord 1999,p. 1.15.
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  39. ^Ford 1999,pp. 2.10–2.11.
  40. ^Ford 1999,p. 2.22.
  41. ^abFord 1999,pp. 3.3–3.6.
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  50. ^Ford 1999,pp. 3.11–3.14.
  51. ^Ford 1999,pp. 3.14–3.17.
  52. ^Ford 1999,pp. 3.17–3.18.
  53. ^abcFord 1999,p. 4.11.
  54. ^Ford 1999,p. 4.5.
  55. ^abFord 1999,p. 4.9.
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  67. ^Ford 1999,pp. 5.4, 5.6–5.7.
  68. ^Ford 1999,pp. 5.7–5.9.
  69. ^Ford 1999,pp. 5.10–5.11.
  70. ^Ford 1999,p. 5.15.
  71. ^abFord 1999,p. 5.16.
  72. ^abFord 1999,p. 5.17.
  73. ^Ford 1999,p. 5.18.
  74. ^Ford 1999,pp. 5.19–5.21.
  75. ^Ford 1999,p. 5.21.
  76. ^House D. (4 April 2009).Genesis P-Orridge Interview, Part IandPart II.RocknRollDating
  77. ^abcdMetzger 2002p. 150
  78. ^Williams, Sheldon. "Genesis P-Orridge". pp. 770–772 in Naylor, Colin & Genesis P-Orridge (editors).Contemporary Artists.Macmillan Press/St Martin's Press, 1977.ISBN0-333-22672-0
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  86. ^abDaniel 2008,p. 2.
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Works cited

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  • Abrahamsson, Carl (2011) [1989]. "An Interview with Genesis P-Orridge".The Fenris Wolf I–3.Stockholm: Edda. pp. 32–50.ISBN978-91-979534-1-2.
  • 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.ISBN978-0-85965-455-5.
  • 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.ISBN978-1887128889.
  • 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.ISBN978-1887128889.
  • 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.doi:10.1353/jsr.2008.0004.S2CID143586670.
  • 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 fromthe originalon 16 October 2014.Retrieved12 October2014.
  • Daniel, Drew (2008).Throbbing Gristle's Twenty Jazz Funk Greats.London: Continuum.ISBN978-1-4411-1325-2.
  • Evans, Dave (2007).The History of British Magick After Crowley.n.p.: Hidden Publishing.ISBN978-0-9555237-0-0.
  • Ford, Simon (1999).Wreckers of Civilisation: The Story of COUM Transmissions & Throbbing Gristle.Black Dog Publishing.ISBN978-1-901033-60-1.
  • 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.ISBN978-0-9713942-1-6.
  • Neal, Charles, ed. (1987).Tape Delay: Confessions from the Eighties Underground.SAF Publishing Ltd. pp.93–103.ISBN978-0-946719-02-0– 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.ISBN978-1844656479.
  • Roberts, Randall (23 October 2019)."Genesis P-Orridge shares their vision for 'gender evolution,' possibly for the last time".Los Angeles Times.Retrieved15 March2020.
  • 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.ISBN978-1887128889.
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