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XX XX 23 April, 1992
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SEND: Submissions, Inquiries & Suggestions to: vajra@u.washington.edu
or: COYOTE 131:box 12044:seattle wa:98102
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1-Edit by coyote 131
2-Proverbs ov Hell by W. Blake
3-Thee Life ov thee Buddha (tabloid style)
4-Interview with D. Galas by Nuit
5-Coyote Tales
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1-E hope thee Eros Bunny brought Everyone lots ov Ishtar Eggs! This past
weekend was spent with a gathering ov thee tribe in thee devil's playground
my favorite COIL song kept running through my head..."slur"...thee one
with thee line..."and i ask my lovers do they know where the desert rose
bloom & grow..." for this desert was filled with flowers & E was
surrounded by my Magickal lovers...
everything becomes emptiness
coyote 131
"The TRUTH is a knife which cuts sharp!" -Charles Manson
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2- Proverbs of Hell:
The hours of folly are measur'd by the clock, but of wisdom no clock can
measure.
Every thing possible to be believ'd is an image of truth.
When thou seest an Eagle, though seest a portion of Genius; lift up thy head!
Sooner murder an Infant in its cradle than nurse unacted desires.
The crow wish'd every thing was black, the owl that every thing was white.
Truth can never be told so as to be understood and not be believ'd.
Enough! or Too much.
(William Blake)
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I suppose a modern life of the Buddha would have to be written in the
captivating narrative style of the National Inquirer (or if one wanted
to appeal to intellectuals, a 60 Minutes interview). It would have to
focus almost entirely on the episodes in which Gautama abandons his
wife and child (there would have to be at least a hint that before
abandoning them, he abused them, at least psychologically), and then
(after a protacted and ugly custody battle) returns to kidnap his
previously orphaned son into a weird cult of tramps, suspected by most
decent citizens of being homosexuals and pederasts. The scene would
then shift to a long-winded account of how Gautama (the
self-proclaimed Buddha) was accused of raping a lady of the King's
court and fled the capital city in disgrace. One would have to linger
on his utter failure at finding a peaceful settlement in the
territorial disputes between his tribe and neighbouring tribes and the
resulting massacre of his people. And it would have to end with a
drawn-out account of a bitter and broken old man, despairing at having
wasted forty-five years of his life trying to teach the dharma to a
handful of dull-witted nincompoops like the ever-sniveling Ananda,
only to see his life work be virtually destroyed by his cousin
Devadatta, who accuses him of being old and soft and senile and no
longer capable of leading a band of wandering ascetics at the low
standard of living to which they have become accustomed. Now THERE's a
Buddhacarita for the 90's! Maybe if Salman Rushdie isn't too busy, he
could be approached to write the screenplay. But I digress.
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4- Interview with Diamanda Galas,
Easter Sunday, April 19, 1992,
Backstage in Seattle
by Satana Fury
SF: What brought you into using blues in your music?
DG: I've always been doing that music since I was little in my father's
band. I played with my father's band since I was 12 or 13. We would play
everything all the time, and I always have played everything. It's just a
normal part of an upbringing as a real musician. You just play whatever
you want (laughs).
SF: Is your training mostly in classical music or did you have some blues
teachers?
DG: No, not for this music. For this music I just work with my father.
My father's my teacher. He plays trombone and bass. So he was my
teacher. Then for the more classical stuff, I worked classical music when
I was younger as well, and I would have teachers who would work with me on
that music, but I think that's a pretty traditional music background we're
talking about. A lot of musicians coming out of the jazz world have that
background. A lot of blues musicians have that background. A lot of
people who really love music want to play everything, and they want to
know how to play everything, so they study with people. Blues guys study
with each other and would study with the best guy in town, like Robert
Johnson studied with Son House and a lot of different people. In a way,
you're always studying your profession. You know, you're always studying.
SF: Was the music you performed tonight pretty much written out or were
you improvising?
DG: Ha ha ha, oh definitely improvising. Nah, it's not written out. I'd
be too lazy to do that shit! I mean there's some stuctures that you fall
into that are defined by what the song is, but the songs are always
completely different every night, except the fact that it is the same
song, you know what I'm saying, and I respect the melody, and I respect
the changes, and I respect what the song is about, but the song is
different for me every night depending on what's happened outside the
theater, you know.
SF: Tell me about some of the things you're doing in New York right now,
like with ACT-UP, and what are some of the thing you've been doing with
the AIDS movement lately?
DG: In concerns of being an AIDS activist, my primary work is moving
through towns, doing my performance connecting with the AIDS community the
way I can, and discussing stuff that bothers me. I also have worked in
actions with ACT-UP like the St. Pat rick's Cathedrale action. I think
the thing people can do very well is try to find out information for their
friends who are HIV+ and who have AIDS, and people who, in many cases, are
decentralized based on where they're located in the United States. I have
friends who are located in cities where they aren't in contact with the
right buyer group clubs for medicine, and they get very freaked out,
because they'll hear things and think, "Well, I've got to move to San
Francisco to get these drugs and I can' t do that." They are so many hours
in the day that all seem to have to be used up by people with AIDS just to
constantly do their own research, and I think that people can be very
useful to each other in helping set up communication systems and just doin
g research, and I've done that for some friends who were looking for DDI
or finding out about programs with DDC and a lot of different things for a
while. I've worked in residence homes for people with AIDS, just playing
music. I'm part of the community , so I do a lot of different things.
People have the ability to do something every week to connect with the
AIDS community. There are a lot of services that are needed, and it's a
very important thing to do, and it's not impossible as so many people
think. There's volunteers, for example, if one wanted to start from the
ground up, that are needed for all sorts of programs, and there's training
programs for people who want to be buddies or work as caregivers in
hospices, hospitals, etc., and I think it' s a pretty important thing to
do.
SF: Have you ever experimented with hemitones, or frequencies outside of
the normal hearing range that trigger certain emotional or physiological
responses?
DG: Oh, I'm sure I do it all the time! I didn't know what they were
called, but I'm sure I do. That's what the performances are all about. I
like to go different places, and that's how I do it, that's how I get
there. I haven't done it on a scientifi c level, but you can get there
with voice, you get there in music, and you work hopefully with good
collaborators. I've got a great sound guy that I work with, Eric. He's
fuckin' brilliant. So we do all sorts of stuff together. The guys' got
great ears, so he can hear when we want to build a sound with the delay
and we want to change things with eq or just enforce certain kinds of
mixes between the dry signal, the delayed signal, and the reverb,
depending on the pitch and timbre, because we do that al l the time. It's
part of the sound. It was part of that kind of stuff that Hendrix was
doing on his level, in terms of guitar stuff.
SF: Were you operating the effects on your voice during the show tonight?
DG: Eric was doing that.
SF: How do you manage to do all that with your voice and the piano at
once! It's so amazing!
DG: Just if you've been doing it all your life, it's normal. You know,
just playing since you were a little kid, you always learn that kind of
stuff.
SF: Do you think that your next material will continue with a blues and
gospel base?
DG: I'll always continue that work. That's just part of my music, so
I'll always do that. There's a lot of different kinds of things I'd like
to do. I've wanted to do a record called "Speed Screams" which would be
about fifty one-minute performances. That's a pretty radical project. I
probably won't do it right away, maybe this summer. There's a lot of
different projects I'm doing.
SF: What about the "Vena Cava" project?
DG: It's a piece I did a few weeks at The Kitchen. It's a piece dealing
with the parallels between clinical depression and AIDS dementia, and that
piece I'll be performning next year with Mark Murphy at On The Boards,
hopefully. We're trying to arrange that.
SF: In Seattle?
DG: Yeah, I like coming here. It's nice! I've been here two years in a
row.
SF: Pick another good holiday to come next year!
DG: Yeah, looks like I'm here on the Easter weekend, doesn't it? (laughs)
SF: Have you been to Seattle much before?
DG: No. I hope when I do a longer run here with this theatrical
production that I'll be able to spend more time, because I like it here.
It's very nice. I took a walk here today, and I couldn't believe it. I
thought I was in heaven. I knew I wasn't i n New York!
SF: Where'd you go?
DG: I just walked. I just kept walking from 8th to 4th to 3rd. It was
beautiful. The air was beautiful. I'd like to come back here. It's sort
of like a retirement from New York for a while.
SF: So is "Vena Cava" a theatrical thing, or is it musical, or both?
DG: It's a solo voice with a lot of signal processing in it, and use of
tapes that have a kind of psychological resonance applying to extreme
depression, with a lot of found sources. Better not to explain too much
until I do the show, but what it discusses is the fact that AIDS
dementia, which is often referred to as an organic dysfunciton, is in fact
something that is much more related to what is traditionally thought of
for people who are mentally ill as extreme depression. The parallels are
the abso lute powerlessness, the destruction of the mind through absolute
isolation. This is the kind of work I've been dealing with for a really
long time anyway. It will be interesting to perform it here.
Diamanda Galas' new album, "The Singer" is avaible from Mute Records.
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5- A Kiowa tale: Coyote and the Stranger.
Coyote was going along one day, trotting down the desert way, when he
saw the dist of a horse and rider.
White man coming! And look at the fancy rig on him!
Well, old Coyote was a shape shifter, of course. In no time. he had
taken manshape, looking just like a poor man of the people, dark skin,
black hair. Only his eyes were odd, the mocking green eyes of the
trickster.
Did the stranger know him by those eyes? Maybe. For the man pointed
right at Coyote and said, 'Heard there's someone around here who fancies
himself a cheater. Someone by the name of Coyote.'
CHEATER! Coyote thought indignantly. A fine name for someone who set
the sun in the sky! 'Might be,' he answered smoothly, bland of face. But
behind that blank mask, his busy mind was plotting.
'Ha, you're Coyote, I know it! But I'm a better cheater than you. Ain't
a man alive who can out-trick me, surely not some worn out old Indian!
Come on, try me!'
Now, here was a pretty bird, just asking to be plucked! Coyote grinned
lazily, tongue lolling out. 'The day's too warm.'
'Try me! Try to cheat me!'
'No. The suns too hot.'
'You're afraid! You're scared to have a cheating match with me.'
Coyote sighed. 'Trouble is, I left my cheating medicine back home.'
'Well, go get it.'
'It's too far. I'm too tired. You want a cheating match, better wait
till another day. Or lend me your horse so I can get there and back
again.'
The stranger thought that one over just for a minute, so eager was he
to show what a mighty trickster he was. He jumped down from the saddle.
But Coyote slyly moved upwind of the horse. And it, smelling the not-human
scent of him, shied, eyes rolling, ears twitching.
'He's scared of me because I don't have a white man's hat,' Coyote
said. 'Let me borrow yours.'
'Here, take it. Go get your cheating medicine.'
But Coyote still stood upwind. And of course the horse still shied.
Coyote shrugged. 'He's scared of me because I don't wear a white man's
clothes. Guess our match is off.'
But the stranger was so eager to prove himself, he peeled out of his
fancy shirt and pants and boots without a moments thought. 'Here, try
them.'
Coyote slid into the alien clothes, leaving the man in only his long
johns. With the alien hat on his head, Coyote moved downwind. Unable to
scent him, the horse stood still. Coyote mounted an urged it into a trot.
But then, safely out of reach, old Co yote reined in the horse again,
looked back at the denuded man, and grinned.
'Well, stranger. ' he called. 'Are you content? Learned your lesson?'
'Lesson? what are you talking about?'
'Look down at yourself, stranger. No clothes, no horse. Look down and
admit: No man living can trick Coyote!'
'Why you sly, no-good son of a - You come back here!' he raged.
But with a wave of his hand, Coyote rode away.
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///END TRANSMISSION///
