Table Of Content

“Art is an illegal drug.” —Frank Moore Other books by Frank Moore: Art of a Shaman Cherotic Magic Chapped Lap Deep Conversations In The Shaman’s Den, Volume I Frankly Speaking: A Collection of Essays, Writings and Rants How to Handle an Anthropologist: Russell Shuttleworth, PhD interviews shaman/performance artist Frank Moore Skin Passion The Cherotic (r)Evolutionary Complete 1991-1999 © Inter-Relations 2020 All rights reserved. I S B N 978-1-7346850-2-2 Cover and book design by Michael LaBash. Inter-Relations PO Box 11445 Berkeley, CA 94712 Frank Moore, Linda Mac and Kittee ordering pages for issue #7 in their Berkeley, California studio in 1997. The Cherotic (r)Evolutionary (1991-1999) by Stephen Perkins, April 11, 2019 I have always been lucky. I have a body that This text concentrates on only one thin slice of is ideal for a performance artist. And I have Moore’s extensive activities and that is his role as always wanted to be a performer. When I was co-editor with Linda Mac of The Cherotic (r)Evo- a kid, my younger brother used to get mad lutionary, a zine that they published in Berkeley in when people looked at me when he pushed nine issues (#0-8) between 1991-1999.3 me to the movies or to the teen club. He cried. But I liked people looking at me. That is what Introduction I mean I am lucky. I am lucky I am an exhibi- Looking at the inaugural issue, it is interesting to tionist in this body. One time, I was working note that the first piece of news in Moore’s editorial out on the jungle gym outside of our house...a concerns the recent publication of his book Cherotic kid came by and asked if I was a monster. I Magic (1990), which is an introduction to the sha- just roared like a monster. It was fun...I start- manistic apprenticeship that he was offering at the ed to see my body as a tool. I could get away time. Moore admits to this “...shameless self-pro- with things that others couldn’t.1 motion...for my apprenticeship, for my 6-session course, for my performance art and videos and With incredible humor and an infectious smile tapes, and who knows what else.”4 Throughout the Frank Moore (1946-2013) navigated the world in a life of the periodical, Moore would use it as a distri- body of which he had only minimal control. Born bution outlet for the varied products of his assorted with cerebral palsy and unable to walk or talk he activities. used a wheelchair his entire life. When he was sev- About the magazine Moore states in the first enteen, he created his own personal communication issue: system by strapping a pointer to his head which allowed him to point to letters, words and phrases TCR is a journal of the edge. TCR is an offen- on a board, and thus he was finally able to break out sive movement or measure offering alterna- of his isolation and communicate with the world. tives to the fragmentation, isolation, personal But Moore did not let his disabled body hamper helplessness which is actively promoted by the his path through life, and his obituaries detail the combine of power systems. TCR is anarchical, myriad creative activities that he was engaged with, based on personal responsibility to reshape including a long career as a performance artist, a reality into a more human, trusting, loving shaman, poet, essayist, playwright, painter, musi- reality, full of fun and pleasure. TCR is not a cian, Internet TV personality, a 2008 presidential reaction. It is a magical act of enjoying life. It candidate and co-editor of the zine The Cherotic is a journal of and for people who are doing (r)Evolutionary amongst a host of other activi- this magical art....Now we magical misfits ties.2 Along the way Moore also completed a BA in know we are not alone, that there are others English (1972, University of New Mexico), an MA out/in here/there feeling, thinking, trying, in Psychology (1976, University Without Walls, doing similar things. This just by itself should Berkeley) and an MFA in Performance/Video (1983, speed evolution up.5 San Francisco Art Institute). Mention should also be given here to Moore’s longtime partner Linda Moore’s desire that the magazine should provide Mac and fellow collaborator Michael LaBash, both a network of support for these ‘magical misfits’ is of whom were key partners, and collaborators in coupled with his larger vision of this movement, helping Moore realize his ideas and projects during about which he states, “I think it is very important his years living in Berkeley, California. that there be a Cherotic Movement, not unlike the so-called Sexual Revolution of the Sixties. This in and out of fashion time. TCR will follow Cherotic Movement would be (or rather, is) a physi- the magic wherever it non-linearly goes. We cal/spiritual movement that re-defines and expands will print what we like, what interests us...9 sexual, spiritual, social concepts of reality.”6 This latter statement outlines the core themes that would Moore was always alert to the ways systems op- form the basis of all of Moore’s work in various press and suppress, even within the context of mag- media, and they would provide the links to all of azine publishing, and all nine issues of The Cherotic his different activities throughout his career. On (r)Evolutionary display a comfortably unruly aes- the definition of a “cherotic (r)evolutionary” Moore thetic that embraces a wide variety of artists’ works, wrote, “...Chero is the physical life energy. I creat- poetry, writings by Moore and others, and reviews ed the word “chero” by combining “chi” and “eros”. of his performances and publications.10 And revolution is the mutation stage/phase in the process of evolution...so an erotic mutant for life!”7 What’s in a Name? The most direct way through which Moore of- Before I explore the contents of the periodical there fered interested people an experience of the cherotic are two subjects that I want to address, and the first was through his performances, in which the audi- is the name of the periodical. A look at all nine ence was invited to actively engage in what he called issues reveals that the periodical’s name for the ‘eroplay’. Eroplay is another word that Moore created first five issues is The Cherotic Revolutionary and to describe the experience of “...intense physical from the sixth issue the title has been changed to playing and touching of oneself and others. Eroplay The Cherotic (r)Evolutionary. In editorials for issues is also the force of energy which is released as the #3 (1993) and #4 (1994), Moore spells the name of result of such play”. Moore emphasizes that “eroplay the periodical “The Cherotic rEvolutionary” with a is not foreplay, even though foreplay is eroplay...” lower case “r” and the title on the covers reflect this and further that “Foreplay leads to orgasm...eroplay emphasis on the “R” by printing them with a screen leads to being turned on in many different ways in that distinguishes the letter “R” from the rest of the all parts of the body,” and he concludes, “Eroplay is word. By issue #5 (1995) the title of the periodical is the blissed-out, warm, relaxed, turned-on, totally The Cherotic (r)Evolutionary. In his editorial in issue satisfying feeling of a good head rub...eroplay is #3 (1993) Moore explores the background around that intense feeling throughout the entire body”.8 the eventual name change: The Cherotic (r)Evolutionary would be one of the mediums through which Moore communicated his There are changes around here. Well, what do expansive philosophy of the cherotic, and he chal- you expect from a zine with “revolution” in its lenged his readers to become ‘revolutionaries’ in last name? And that may be one of the chang- this radical movement to reshape, and expand our es...our name appears to be in the process of physical, spiritual and sexual lives. changing itself from The Cherotic Revolution- In Moore’s editorial for the second issue he ex- ary to the Cherotic Evolutionary. A revolution pands upon his editorial position and in his desire is a mutation from the normal as-is reality, to keep The Cherotic (r)Evolutionary an open and an experiment and adventure in newness. The freewheeling place he states what the magazine is purpose of a revolution, and any mutation, is not going to do: to break new ground for evolution...to prod evolution along.11 ...we will never do theme issues such as poetry, gay, sex, women, etc. This is because The second subject, and question that I want to the theme format is a great way for editors explore is, what to call this periodical? In the first and galleries (etc.) to keep control of content, two issues Moore describes it as both a ‘magazine’ style, point of view, and the accessibility of the and a ‘journal.’ In the third issue he refers to the pe- communication channels they manage. The riodical as a ‘zine’ and by the next issue zine is used theme concept also fragments both people and not only in the editorial but in the masthead for all dialogue into labeled bits that can be shuffled futures as well. It’s perhaps unsurprising that this new descriptor also parallels the period when the title of the periodical was in flux. I would agree with the use of the word ‘zine’ to describe this periodical, as its anarchic, and low-tech production, certainly displays all the features of a periodical published by enthusiasts and non-professionals. However, at one level Moore’s original use of the term ‘journal’ is also appropriate as well. Journals have historical- ly been the site where the activities, and research of specialized groups was communicated to their professional community. Moore, in his editorial for the first issue, describes the periodical as being just such a place, albeit comprised of an ‘unprofessional’ community, but with the same theme of sharing their research within this group. Moore writes that the periodical will provide a site for this community to address: ...magical issues that I for one have been Kyle and Luna Griffith, S/R Press. hungry to talk about for a long time in the depths that it is possible with people who have committed their lives to going across the On the technical side, The Cherotic (r)Evolution- taboo border to effect evolutionary change. In ary was a photocopied periodical and beginning future issues of TCR, I hope we will move far with the third issue was published by Frank Moore’s beyond the book, Cherotic Magic, and give and Linda Mac’s Inter-Relations, their publishing one another aid and comfort on the edge by arm that took over from the original publishers, S/R linking together, by announcing new findings Press. Coinciding with this issue was their acquisi- in our hidden experiments [my emphasis] on tion of a Mac computer, and with Michael LaBash nonlinear change.”12 as art editor, the quality of the overall design im- proves substantially, and would continue through- Inside the (r)Evolution out the life of the periodical. However, even in All nine issues of The Cherotic (r)Evolutionary pres- the final issue (#8, 1999) where the design is at its ent a smorgasbord of works by a variety of writ- tightest, there is still an element of the early anar- ers and visual artists, and the following overview chic quality that grounds the periodical within the includes the names of the more frequent contrib- larger history of zines. The periodical was an annual utors in different media. The periodical publishes publication with the exception of #1 and #2, both a wide range of writings including poetry (Jesse published in 1992. Beagle, Robert Howington), reviews of the period- At the back of each issue is information about ical, Moore’s performances and other events (Kyle acquiring previous issues of the magazine as well as Griffith, Barbara Smith), texts related to shamanism details about other products available from Frank (Kyle Griffith, Brenda Tatelbaum), personal stories Moore’s assorted projects. Later issues also included about sex (Carol A. Queen, Veronica Vera), per- a page that featured readers’ and advertisers’ works formance art (Annie Sprinkle, Karen Finley, Linda and products, as well as their contact information. Montano), sex and spirituality (Chief Distant Eagle), The periodical ceased publication when Moore and disability issues (Steve A. Brown). On the visual and Mac started their internet radio station LUVeR front the periodical is copiously illustrated (Michael (Love Underground Visionary (r)Evolution), and, LaBash, John Seabury, Brian Viveros), and through- “We were just too busy to do both...”.13 out there are black and white photographs, and Following from this brief survey of the peri- featured portfolios (Tony Ryan). odical’s contents, I want to examine a number of specific aspects of the periodical that play import- and writings of both Annie Sprinkle and Karen ant roles in the periodical’s nine-year lifetime. One Finley, and in issue #3 (1993) six pages and the theme that resonates powerfully throughout the cover are devoted to the work of Sprinkle, including periodical is censorship, in particular Frank Moore’s also Veronica Vera’s important Post Porn Modernist experience of it during the ‘culture wars’ that were Manifesto (1989).16 raging during the periodical’s early years. I will also examine two other important elements of the pe- Michael LaBash’s Artworks riodical, specifically Michael LaBash’s illustrations, One vital and eye-catching feature of The Cherotic and Moore’s written contributions. (r)Evolutionary are the illustrations that are featured The theme of censorship appears in the first in all the issues of the periodical by Michael LaBash. few pages of issue #0 (1991) by way of an article by The artist was one of the intimates within the family Jack Helbig that first appeared in The Chicago News group that formed around Frank Moore, and Moore & Arts Weekly (Oct. 11 - 17, 1990) titled “Outlaw always spoke very fondly of this indispensable Artists, Porn? Play? Or Immoral Plot”. In his article member of the cherotic team. LaBash’s drawings Helbig summarizes the recent conservative attacks are powerful, humorous and slightly creepy works on artists doing edgy performance works and the in which naked people couple and engage in all fact that they had all received grants with taxpay- sorts of surreal ways. Hands and body parts couple ers’ monies. Helbig concentrates on Annie Sprinkle, with all sorts of real and imagined bodies, and their Karen Finley and Frank Moore, and he outlines assorted orifices. the cases that Senator Jesse Helms and Represen- The first two issues of The Cherotic (r)Evolu- tative Rohrbacher launched against what the late tionary feature LaBash’s works on the front covers, conservative art critic, Hilton Kramer, described as with all subsequent issues featuring his works on these “New Barbarians”. The censorship wars of this the back covers, and they provide powerful visual period raged across the artworld and nobody in this equivalents to Moore’s eroplay teachings.17 LaBash’s community was unaffected by this controversy. Art- works are also found inside the periodical where ists doing provocative works were an easy target for they are published in a variety of page sizes, as well conservatives in whipping up hysteria about the use as being used as illustrations for different sub- of public funds for this type of ‘pornography’. Sad- missions. As one of the consistent features of the ly, they were ultimately successful in changing the periodical they have a very powerful visual presence granting process in order give local communities a within the periodical, and they seem to merge with greater say, and control, over who did and who did the periodical’s larger project, becoming in the pro- not receive grants. Attempts to cut the amount of cess visual talismans for the cherotic (r)evolution. funds provided annually to the NEA (National En- dowment for the Arts) were ultimately not success- Frank Moore’s Writings ful, but within this hostile climate there would be It goes without saying that Moore’s writings would no move to increase the funding either. form a key part of the periodical. Each issue in- Further into the above issue #0 (1991) Moore cludes an editorial by Moore about the contents of publishes an open letter to Jesse Helms and de- the current issue as well as other pertinent themes mands to have a dialogue with him writing, “Why and subjects. There are three reviews by Moore of are you closing channels of expression and funding different printed matter publications, as well as his to me without due process of law?” claiming that own writings which are represented by fourteen this campaign is a way of smearing the artists’ rep- texts spread out over the life of the periodical.18 utations and thus making them “...untouchable, un- A good proportion of Moore’s writings explain fundable, unbookable”.14 Moore concludes his text and expand upon his key concepts of the cherotic with one final address to Helms stating, “If you have (r)evolution and eroplay. In “Nonlinear Bits” (#1, anything to say to me or to ask me, come to talk to 1992) he writes that, “The cherotic revolution is me man to man. Otherwise, get your Big Brother an evolutionary movement, an anarchistic way of foot off my back”.15 One result of this controversy is change, in which the single person is the center of that in future issues Moore would feature the works the creative force”. In the second issue he exam-