Proof if proof be need be that I F Svenonius has been working on his schtick for some time, often operating under an all-too-plausible nom du guerre
Full pdf here
Proof if proof be need be that I F Svenonius has been working on his schtick for some time, often operating under an all-too-plausible nom du guerre
Full pdf here
This is the full version of an interview with Natalia Beylis from Woven Skull, conducted by email ahead of their Gateshead show in July. I first saw Woven Skull at Supersonic Festival in 2015 and they were a highlight in a weekend full of them, leaving me stunned and mumbling to anyone who’d listen about ‘if Godspeed were a folk band’ (not an accurate description, as we’ll see later). Since then, they’ve become regulars at all the right festivals, never failing to utterly captivate the audience, and released a barrage of essential releases through various sources. I must have seen them ten times in the intervening years and drunk with them a few times too. I kicked off the interview with Natalia by asking her to tell me a little about the band’s origins.
So firstly, can you tell me a bit about how Woven Skull came together. I know you and Willie met in the States, but how did a Ukrainian lass end up living in the middle of Ireland?
Soon after I was born my parents decided to hit the high road. We snaked through Europe, spent a few months living outside of Rome and eventually ended up in Baltimore which is where all of my memories begin. There must be a roamer’s strand on my DNA because I could never fully stay put. I met Willie [Stewart, drum and percussion] when I was living in Pittsburgh and he was on tour with his old band Bambi. A few months later, I followed him back to his hometown of Dublin. As the officer at Dublin Airport Passport Control said to me the other day “Whatever possessed you to shack up with an Irishman?” I have no real answer. Maybe he dosed me with a spell? Eventually we moved into a big warehouse space in the city. It attracted all sorts of everyone. Aonghus [McEvoy, guitar] lived with his parents up the road and used to come over with two of his friends nearly every day. They didn’t drink at the time and would just silently sit there on the couch. Sometimes they would play hackeysack. There’s a lot that drew the three of us together musically. We were all always at punk gigs. We all like Crass. We all like Smegma. Once Aonghus left the dry life behind we all found we had a common love of partying as well. Eventually the guy who owned the warehouse realized Willie and I were living there and it wasn’t just the artist studios we’d claimed it to be. We’d got so used to somewhere cheap with plenty of space that it was hard to adjust back to a cramped expensive city house. So we headed out to where there was no one to bother with all our noisemakings.”
Was there a set idea of what the band was going to be or was it much more informal than that?
The beginnings of what morphed into Woven Skull were sparse, with me writing monophonic tunes on a little bowlback mandolin, leaving expanses of space for whatever would eventually come to fill itself in. My friend Ivan Pawle was the first one I tried playing these lines of music with: Ivan on hurdy-gurdy and Willie accentuating the most skeletal of all rhythms on a frame drum. Ivan was soon called away to dig up bones so we brought Aonghus into the fold and that’s when the spaces began to swell. We were in no hurry to cement the sound of the band. We still aren’t. I reckon it will keep morphing alongside us as we go. The only thing that remains constant is that there are us three at the core. Beyond that we’re always getting stirred from playing and recording with a bunch of inspiring musicians.
There’s quite a contrast between Woven Skull live and many of the releases. I believe the idea with Lair Of The Glowing Bantling was to capture something like the live incarnation (or as it was at that time) but there’s a lot more field recordings, abstract collisions, concrète elements, soundscapes and things with the tapes. Can you tell me a little bit about that?
Since Willie and I live about two hours from Aonghus, we rarely have short band practices, preferring instead to get together over a few days. This gives us plenty of time to create sounds outside of those we set aside for our live gigs. We’ve played together for so long that I feel completely at ease trying any ideas out with Willie and Aonghus. Sometimes they look at me like I’ve grown arms out of my eyeballs but I never feel judged and without that rush of having a restricted time in a practice room, we can give any notion a try. Thankfully though, there’s enough honesty between us to admit when it’s going woefully wrong. When it’s going right, we record it. Our practice room is awash in noise making possibilities: bundles of seashells, a pump organ, disintegrating kids toys. They get added in, and a lot of what we end up with is delicate and abstract or calls for the kind of listening atmosphere that we aren’t trying to create with our live set. Live, I just wanna swaddle the space with everything we can push at it. The Bantling LP is the first one that we recorded with an engineer in a studio and it was an attempt to capture the songs and atmosphere of our stage performance. I think we nearly got there though it’s still got a delicacy over our live sound. Our other recordings give more of an insight into the space in which our sounds are created, into the sounds that are going on around us while we’re recording and into snippets of our writing process.
Thinking about the live band again, you’ve had various comparisons (including from me) of being like an acoustic / folk take on Velvet Underground or even Godspeed You! Black Emperor, that same sustained intensity. Do you think of the band as being at least partly rooted in folk, and what else comes into play in terms of the sound? You’re all clearly immersed in a wealth of experimental and esoteric music.
For me two things come to mind when I hear the term ‘folk music’; the first is the traditional music of a specific group of people from a specific place and the second is the music that’s evolved from the Irish, US & UK folk traditions. We fit neither of those definitions. Someone did once describe us as creating self-imagined folk music. I kinda like that idea; that we’ve invented our own country and written the traditional music for it. But we are not a folk band and we are not rooted in folk. People who come to us with that expectation with inevitably be in for an unexpected surprise; pleasant or disappointing. We’ve never played acoustically live. Even though I play an acoustic mandola and various members join us on violas, violins and cellos, everyone is amped up, often running through pedals and FXs. There’s a lot of pushing the limitations of what is conventionally done with the instruments and how loud and nasty acoustic instruments can go in a live setting.
Tell me a little bit about the scene / community at home – I know you’re fairly near David Colohan [Raising Holy Sparks / United Bible Studies] for example, but I have this mental image of a busy scene of drunken improvising and collaboration?
Willie and I live in the least populated county in Ireland. It’s generally very, very quiet and I often find myself communicating with the sounds of four legged & winged creatures more so than two legged ones. David is our closest musical pal living about 45 minutes away. The elusive Fuzzy Hell is about an hour away. In terms of musicians I collaborate with, those are the only ones around. There is however a fine group of general creative misfits (architects, poets, woodturners) that regularly come out to gigs at our house. Plus tons of visitors pass through. People are always up for getting out of the city to wreck some sound havoc for the weekend. That’s often when the drunken improvisation kicks in.
There’s a sense of the importance of place – and time – that comes through really strongly in your music both in Woven Skull and your own work [Natalia has recorded in various incarnations, often for her own Sofia label], of things being in the moment and the location being part of the experience. Can you tell me something about that?
I had a little black cat named Pussolini (Puss Puss) (RIP). He was always trying to get something across through his ceaseless meowing. It got to the point where I wouldn’t really notice it in the present. But I’d be editing back through recordings and there’d be the Puss Puss meow: at the end of a Woven Skull track, in the midst of a field recording of the gurgling of the bathtub sink, providing vocal accompaniment to piano tracks. I like when the place sneaks itself into recordings. Audibly sterile environments make me antsy.
Whilst I know you’re all a bunch of drunkards and tearaways, and I’m including David in this, there’s nonetheless a vibe I get around you that I would hesitate to refer to in terms of spirituality or anything – I have no idea if any of you have any religious impulse, although Aonghus probably has a GG Allin shrine – but there is something that feels ‘other’ in some way. Maybe it’s just coming across a group of people who are working towards something so creative and powerful, I dunno. I now realise it would have been better to ask this question over a bottle of rum at Supersonic than by email but fuck it. Do you have ANY sense of what I’m getting at?!
This question made me realise that I don’t personally have a working definition of spirituality so I asked Willie how he would define it:
“Being able to put yourself in a atmosphere or headspace where you feel comfortable, confident and at ease. That could be falling into a trance while listening to music or walking through the woods.”
Through his definition, I can safely say that David spends a lot of time in the woods and Willie spends a lot of time walking the boreens around our house. Maybe that’s how they find this sense of ease?
I was at a Sufi gig recently and there was one Sufi fellow that was doing a particular dance, he was rocking back and forth and had one finger pointed up to the sky rhythmically ticking along to the beat. I realized it was, to a tee, the same dance a friend of mine used to do at punk gigs years back. There were two other Sufi lads grooving along in a way that were you to pull them out of the audience and drop them into the middle of a Sleep gig and they would have looked right at home. Would they have even noticed? It got me thinking of that film Rock My Religion by Dan Graham which intersplices footage of people dancing at 80s hardcore gigs with Shakers ecstatic trance dancing. Hmmm……where am I going with all this?… it’s all the one I guess. Whatever gets you to that place of ease without imposing yourself upon others along the way.
But you know, No Gods No Masters at the end of the day.
I know you and Willie have a BIG thing for Moroccan / North African music: how did that come about, what is it about that music that grabs you and do you think it feeds into the band?
Every time Willie and I visit Morocco there’s just always live music everywhere: in the squares, floating above the rooftops, creeping down the alleyways. We both initially got into Moroccan music through listening to the Master Musicians of Joujouka and it’s their sound that drew us to travel there. It’s a different experience to listen to music in the place where it is written. When we got to Morocco we were inundated with Berber, Gnoua, Sufi & Chaabi music. Tapes are super cheap down there so it was easy to start coming home with recordings from all across Morocco and North Africa and slowly sorting through the sounds back at home. With Willie being a drummer I guess there’s that draw for him to North and West African rhythms. But we’re both into music from all over the lands. Eventually we’ll start making our way down and across to other places too. [Willie has a fanzine looking at his love for Moroccan music available here]
We don’t consciously feed anything into the music we write. But all the sounds I’m hearing must be mixing in their somewhere. That’s just the way it works.
Back to a more mundane question: you’re touring England in July, are you doing it all with $un $keletons or just Gateshead? And do you have a release / releases coming out to accompany it? If so, what?
We’re doing four shows with $un $keletons: Gateshead, Middlesbrough, Todmorden plus we’re doing an afternoon generator gig about 15 minutes south of Gateshead. It’s in a very secret location. Can you guess where it is?! There will be more info closer to the time on all the usual channels.
Woven Skull have two releases coming out for this tour. A 10-inch on Lancashire & Somerset Records which is us playing with Jorge Boehringer and Eleanor Cully. It’s noisy and free form and we let Willie use a full drum kit for it. We’ve also got a tape coming out on Cruel Nature (His Cattle Are Pets And He Goes With The Moon) which has a photo of me, my brother and my granny on the cover. It’s a more delicate and possibly more formidable release.
The other new thing we’ll have with us on this tour is a viola player named Ailbhe! This is very exciting. She’s a shredder. Get ready.
And what next, after the tour? Any other releases or big plans we should know about?
We’re at the final mixes of a new LP. So after tour we’ll be looking for a label to take that on and we’ll be planning some big tours around it’s release. Also we’ve got a split 7 inch coming out on God Unknown Records this autumn. It’s got Thor & Friends on the other side. Plus we’re all always working away on material from solo stuff and our other bands and there’s some of that stuff coming out soon.
Woven Skull play Gateshead Old Police House on July 21st alongside $un $keletons, Wreaths and Luna Del Cazador
A couple of weeks ago I got the chance to interview Paddy Shine from Gnod for Narc Magazine, about their recent Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine album (probably my favourite album of the year so far) and the current tour, amongst other things. Paddy was open, honest, funny as fuck and generous with his time, which meant there wasn’t room to include the whole interview in Narc. So here is the largely unedited full transcript…
Salford-based collective Gnod have been making music in all manner of styles and configurations for over a decade now, embracing everything from psych and doom to techno and at the same time becoming key figures in the development of the community of artists and musicians working within the now essential Islington Mill complex. At the end of March, the band released perhaps their most astonishing and uncompromising album yet, the bluntly titled Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine, a five-track howl of anger delivered in a particularly ferocious style. But as Paddy Shine, one of the central members points out, it’s not necessarily what people imagine it to be.
“Let me start from the beginning, actually. The album tracks and the title were all written pre-Brexit, pre-Trump, yeh? Everything was already decided, you know? And the album is as much introverted as it is screaming out about things. It is definitely calling out what’s going on around us , that’s pretty evident from the title and the songs – the anger in it – but the title was as much a poke at our collective apathy. It’s like that old ‘Just Say No’ Zammo campaign and all that… we thought, this is a good little poke at ourselves, how the fuck are we supposed to change the situation here. It’s funny, it is a political statement but it’s also taking the piss a bit too, and I think a lot of people have missed out on that side of it, because the album got released after Trump got inaugurated. All of a sudden we started getting all these email from people going “Yeh! A fucking anti-Trump album”, and we’re like “yeh, alright, it is that but it’s not just about Trump, you’ve got to take a look in the fucking mirror.” Change starts at home, doesn’t it? That’s the point we were getting at and the last three albums that we’ve done have been this progression – Machines was a very introverted look at our living situation, and how we felt we were contributing to our community. And Mirrors was sheer rage, basically. And this one was supposed to be a kind of raging bit of fun. When we play these tracks live, we’re playing them like there’s no tomorrow, really. It’s nice to finally tell someone what the album is, because a lot of people think we’re jumping on some sort of political bandwagon, whereas to us it was a continuation of what we already do, really.”
And what came first, the content or the sound?
“We started writing those songs well over a year ago, 18 months even, that’s just how they were when they were written. And how we always seem to work is that we start writing and a developing a new set before we go on a new tour, hone it down on the tour, and as soon as we get back we go straight into the studio and record it. So there was no great agenda, it was just a constant natural process, no “okay, let’s get angry and some political stuff”, that’s just how we roll. “
How’s this tour going to work live, in terms of line-up and instrumentation?
“There’s new tracks, old tracks and stuff from Just Say No. Personnel-wise, it’s the core four of us, with a new drummer and Fish (aka Neil Francis) joining us back on the vocals again. We’re pretty stripped down instrumentation- wise, for the full band stuff it’s just two basses, two guitars, vocals and drums. Pretty stripped down for a Gnod thing. But we’ve been getting more interested in electronic sets, so we’ll be doing some of those on this tour, which is nice because hopefully people are starting to get into the weirder electronic things we do. “
Have you found that the way you constantly shift styles has alienated people?
“It’s cool, people are starting to get down with that, At first, we had so many weird reactions, throwing things at us and shouting [adopts French accent]: “where’s your fucking geetars, what iz this shit?” But we love that, it’s great to do people’s heads in. I love going to a gig and getting my head in by a band, I might have some expectations and I want them blown out of the water!”
(There follows a long chat about the first time each of us saw Circle, followed by a discussion of possible musical influences in which I suggest the blend of anger, dub and fucked up guitar sounded like World Domination Enterprises. Surprisingly, Paddy hadn’t heard of them so I sent some links. Response? “That guitar sound man whoaaaa, fucking sick!”)
I wanted to ask you about Crass – to me there seems to be a parallel in the way Crass operated and the way Gnod do now – involvement in the underground, Islington Mill, things like that. Were they an influence?
“Definitely! It’s simple really: when I was about 12, 13, I discovered Crass through a friend’s uncle’s record collection that he gave us, and after about a year of us deciphering what the FUCK they were on about – we were just young lads growing up in Ireland, we could barely understand a word they were saying, know what I mean? Ever since then Crass, and Penny Rimbaud and Dial House, have definitely always been hugely influential, the way Crass went about doing what they did and pretty much changed the record industry and showing young punks that there was an alternative to big business. I don’t think they get enough credit for doing all that… People slag them off because they think they were some sort of rich kid punks or whatever, but they were true punks.. they set up spaces, and a lot of the bands I love from the late eighties and the early nineties, the weirder stuff, that all comes from Crass somehow “
And does that feed into Islington Mill?
“I don’t know how many people in the Mill are aware of Crass and what they did, or Dial House. We’ve got so many different people from different backgrounds… we’re just doing what we do. I mean, obviously I’m influenced by Crass because I grew up listening to that stuff and being really interested in how they approached things. But I can’t speak on behalf of the rest of Islington Mill. The only way I could answer that would be in about ten years time when I’ve got a bit more perspective into how it all happened and how it all worked. Because when you’re in the middle of it, you’re just doing it, aren’t you? This place is organised chaos and that’s the glue that holds it together really, the chaos.”
Can I ask about the track Real Man? Is it a particular person or a composite of a particular type of bloke?
“It’s a whole bunch of people, that’s kind of been whittled down to one head, but it’s a head with a million split personalities.. . (laughing) You’re going to ask me about the Mark E Smith lyric aren’t you? (Real Man has some lyrical nods to Hip Priest). It’s not about MES but I just had the opportunity to rip off some Fall lyrics cos they fitted. I have to work for a living, I’ve got a job, and a lot of my lyrics are informed by what winds me up. And work FUCKING winds me up. Being surrounded by fucking dickheads particularly informed Real Man. I don’t like to explain my lyrics too much, it might ruin someone’s own interpretation.
Since I lined up this interview, I found our you’re releasing a live tape through Joe Maclaren’s Concrète label and now I’ve heard about yet another Gnod project, the Temple Ov BBV – can you tell me something about that?
“We got invited to go to Eindhoven Psych lab last year, to do a residency which was to go in and jam with Radar Men From The Moon and then do a gig with them at the festival. But we said ‘fuck jamming, let’s write a really sick album!’. We had to jam a bit to get to that point obviously, but the idea with these things is usually the bands go in and wig out and play over each other and hope that something good happens. But we wanted to write four or five really good tracks and team up as Temple Of BBV. BBV is brain – blood – volume, which is directly linked to trepanation…
(There follows another long digression about trepanation, which seems to be cropping up all over these days, before moving onto microdosing)
“I’m a massive advocate of that, I’ve been microdosing myself for two years on various things from psilocybin to LSD and it’s had a massive impact on my personal life. I’d be well up for giving trepanation a go if I could find somebody to do it. I just want the right medical procedure, you can do it in South America for a couple of grand. It’s only in western Europe where it’s taboo. It’s the oldest surgical procedure In the world, and it still gets practiced.
Anyway, going back to the album! This album was themed around BBV and… I don’t want to use the word enlightenment… but something LIKE enlightenment through trepanation, or the idea of it, freeing yourself and regaining some kind of paradise lost, you know? I’m fucking pleased with it, there’s 11 or 12 musicians playing on it, a lot of it’s live, and everybody worked really hard. We only had 3 ½ days but it was one of those things you walk away from and go, “yeh, this is why I do music…“
When you play Newcastle in May you’re sharing the bill with White Hills, and I know you go way back with them?
“We nearly always do a show with them on every tour, and we see them at festivals. We’re good friends… We did the Liverpool Psych Fest and Dave joined us on guitar for the gig, which was good craic but I don’t think he’ll ever do it again! We were out of minds and he was like, [American accent]: “how my god, how do you guys fucking do this?!”
I’d really like to thank Paddy for taking the time to do this….
So we’ve lost author / blogger Mark Fisher. I don’t think we ever met, but in the days when the blogosphere was still a thing, his K-Punk blog was an inspiration and we corresponded a few times. I’ve only read Capitalist Realism and a bunch of his articles but he was a visionary writer and seemed liked a lovely guy. Thoughts out to his family.
Happy Thanksgiving ‘Murika, Brother Burroughs leads us in prayer ahead of the feast. . . makes a change to switch from Ballard to WSB if not a stretch. Two sides of the same coin in many ways. Thirty years have passed since Uncle Bill penned this jaundiced litany of American ‘acheivement’. It rings true as ever, if not more so for this phenomenal horrorshow of a year. The sense of desperate panic and alarm at what has been uncovered in every think piece article looking for a scapegoat – Burroughs pretty much always saw it this way, he’d be appalled but unsurprised by events you expect.
Thanks for the AMERICAN DREAM to vulgarize and falsify until the bare lies shine through…
. . Thanks for the last and greatest betrayal of the last and greatest of human dreams.
Up at the top there is a piece of Burroughs’ work called ‘Star Spangled Banner’. Beneath are some of Keith Haring’s from their ‘Apocalypse’ collaboration. ‘Success will write apocalypse across the sky’.
Down at the bottom there, some more comic wisdom from Burroughs in ‘Why I Stopped Wanting to be President’
‘loathsome mis-shapen bulbous plants spring from their bones.’
J G Ballard would have been 86 today. He’s been dead for several years but you could be forgiven for thinking he’d been taken on as a scriptwriter by the producers of the cosmic farce – more and more his curious and curiously perceptive visions of the world we build for ourselves and how we act within it are echoed all around us. Last week’s election of Trump is only the most garishly loud and obvious example. No such deus ex machina called the shots in his fiction though, his characters building and destroying their worlds out of their own psychological quirks and obsessions. So I think he would have turned their offer down, perhaps to haunt the abandoned malls and swim in the drained pools or lie beneath the flyover. This week a national newspaper took to task a national sporting hero and beloved tv presenter over his use of the word dystopian in a tweet. The same publication cropped photographs of a political figure walking in order to create the false impression he was dancing, all to serve it’s own political narrarive. Meanwhile the clearest evidence yet that the planet is set to become a Ballardian drowned world/heat-scorched waste littered with abandoned, useless planes, trains and automobiles was ignored in favour of analysing the troubling psychopathology of the man who is to become, effectively, our new king. I’m reading ‘Kindness of Women’ at the moment but it feels as if ‘Hello America’ is coming to the boarded up multiplex soon.
My impression is that the original punk groups were reacting in a very direct way against the establishment music scene – someone like Mick Jagger is as much a part of the show business entertainment scene as Frank Sinatra or Bing Crosby . . . he’s a completely socially accepted and integrated performer. What is interesting now is the time span between the ‘rebel’ – the ‘revolution’ – and total social acceptance is getting shorter and shorter . . . in the future you’ll get some radical new idea but within 3 minutes it’s totally accepted, and it’s coming out in your local supermarket . . .
JGB in interview with Jon Savage 1978
RONALD REAGAN DONALD TRUMP AND THE CONCEPTUAL AUTO DISASTER. Numerous studies have been conducted upon patients in terminal paresis (GPI), placing Reagan Trump in a series of simulated auto crashes, e.g. multiple pileups, head-on collisions, motorcade attacks (fantasies of Presidential assassinations remained a continuing preoccupation, subject showing a marked polymorphic fixation on windshields and rear trunk assemblies). Powerful erotic fantasies of an anal-sadistic surrounded the image of the Presidential contender.
Subjects were required to construct the optimum auto disaster victim by placing a replica of Trump’s head on the unretouched photographs of crash fatalities.
In 82% of cases massive rear-end collisions were selected with a preference for expressed fecal matter and rectal hemorrhages. Further tests were conducted to define the optimum model-year. These indicate that a three year model lapse with child victims provide the maximum audience excitation (confirmed by manufacturers’ studies of the optimum auto disaster). It is hoped to construct a rectal modulous of
ReaganTrump and the auto disaster of maximized audience arousal.
Motion picture studies of
Ronald Reagan Donald Trump reveal characteristic patterns of facial tones and musculature associated with homoerotic behavior. The continuing tension of buccal sphincters and the recessive tongue role tally with earlier studies of facial rigidity (cf., Adolf Hitler, Nixon, Reagan). Slow-motion cine films of campaign speeches exercised a marked erotic effect upon an audience of spastic children. Even with mature adults the verbal material was found to have a minimal effect, as demonstrated by substitution of an edited tape giving diametrically opposed opinions…
INCIDENCE OF ORGASMS IN FANTASIES OF SEXUAL INTERCOURSE WITH
RONALD REAGANDONALD TRUMP. Patients were provided with assembly kit photographs of sexual partners during intercourse. In each case Reagan’s face was super imposed upon the original partner. Vaginal intercourse with “The Donald” proved uniformly disappointing, producing orgasm in 2% of subjects.
Axillary, buccal, navel, aural, and orbital modes produced proximal erections. The preferred mode of entry overwhelmingly proved to be the rectal. After a preliminary course in anatomy it was found that the caecum and transverse colon also provided excellent sites for excitation. In an extreme 12% of cases, the simulated anus of post-costolomy surgery generated spontaneous orgasm in 98% of penetrations. Multiple-track cine-films were constructed of “The Donald” in intercourse during (a) campaign speeches, (b) rear-end auto collisions with one and three year model changes, (c) with rear exhaust assemblies…
SEXUAL FANTASIES IN CONNECTION WITH
RONALD REAGAN DONALD TRUMP. The genitalia of the Presidential contender exercised a continuing fascination. A series of imaginary genitalia were constructed using (a) the mouth parts of Monica Lewinsky, (b) a Cadillac, (c) the assembly kid prepuce of President Bush…In 89% of cases, the constructed genitalia generated a high incidence of self-induced orgasm. Tests indicate the masturbatory nature of the Presidential contender’s posture. Dolls consisting of plastic models of Trump’s alternate genitalia were found to have a disturbing effect on deprived children.
TRUMP ’S HAIRSTYLE. Studies were conducted on the marked fascination exercised by the Presidential contender’s hairstyle. 65% of male subjects made positive connections between the hairstyle and their own pubic hair. A series of optimum hairstyles were constructed.
THE CONCEPTUAL ROLE OF TRUMP. Fragments of
Reagan Trump’s cinetized postures were used in the construction of model psychodramas in which the Donald-figure played the role of husband, doctor, insurance salesman, marriage counselor, etc.
The failure of these roles to express any meaning reveals the nonfunctional character of
Reagan Trump. ReaganTrump’s success therefore indicates society’s periodic need to re-conceptualize its political leaders. Trump thus appears as a series of posture concepts, basic equations which reformulate the roles of aggression and anality. Reagan’s personality. The profound anality of the Presidential contender may be expected to dominate the United States in the coming years. By contrast the late JFK remained the prototype of the oral subject, usually conceived in pre-pubertal terms. In further studies sadistic psychopaths were given the task of devising sex fantasies involving Trump Reagan. Results confirm the probability of Presidential figures being perceived primarily in genital terms; the face of LB Johnson is clearly genital in significant appearance–the nasal prepuce, scrotal jaw, etc. Faces were seen as either circumcised (JFK, Khrushchev) or uncircumcised (LBJ, Adenauer). In assembly-kit tests Trump Reagan’s face was uniformly perceived as a penile erection. Patients were encouraged to devise the optimum sex-death of Ronald Donald Trump Reagan.
–J. G. Ballard
(At the 1980 Republican Convention in San Francisco a copy of the Reagan text, minus its title and the running sideheads, and furnished with the seal of the Republican Party, was distributed by some puckish pro-situationists to the RNC delegates. It was accepted for what it resembled: a psychological position paper on the candidate’s subliminal appeal, commissioned by some maverick think-tank.)