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Genesis P-Orridge & Stan Bingo

Alias:
Gender: Male
Country: United Kingdom
Description:
One of the most creative and seminal industrial culture artists, born in 1950 in Manchester as Neil Andrew MEGSON. His artistic career began in 1965, when he and some schoolmates of his (Peter WINSTANLEY, Ian EVETTS and Jane RAY) set up a band called WORM. The only record they made was the Early Worm album (1968), also featuring his father Ronald Frederick ”RFM” MEGSON, Gnaire GILL, John ”JESUS JOHEERO/Dr. MOSES TEA” SHAPEERO, in an edition of one copy only. Not much later, the group recorded another album, Catching The Bird, but it was never released. Early Worm was a result of his fascination with the works of John CAGE, especially his 1961 book Silence, and its improvised compositions involved everyday kitchen objects (cutlery), broken musical instruments (guitar), electronic feedback, tapes and chaotic vocals. It was then when MEGSON used his most famous moniker GENESIS P-ORRIDGE for the first time; his legal name since 1970. From 1968 to 1970, he co-edited a student magazine, ”WORM”, and his poems received recognition at literary compe- titions. In 1968, due to a fascination with Allen GINSBERG and Gary SNYDER, he started a performance art group The KNIGHTS OF THE PENTECOSTAL FLAME. The following year, he moved to Hull, where he studied socio- logy and philosophy, only to relocate to London not much later, where he joined TRANSMEDIA EXPLORATIONS, a controversial performance art group formerly known as The EXPLODING GALAXY, whose members notoriously and deliberately abandoned all normal modes of living in order to question generally accepted social manners. In late 1969, he and John SHAPEERO launched COUM TRANSMISSIONS, one of the most radical performance art groups of the 20th century. He was also active in the mail art movement which consolidated artists operating outside the official circles and chan- nels. In the mid 1970s he again turned to music, through which he sought to expand the impact of his art and worldview concepts. In 1975, along with Christine Carol ”COSEY FANNI TUTTI” NEWBY, Chris CARTER and Peter ”SLEAZY” CHRISTOPHERSON, he set up the legendary group THROBBING GRISTLE, which largely contributed to the emergence of INDUSTRIAL CULTURE. Six years later, due to the escalation of disagreements within (the grounds were complicated relations, including those between GENESIS P-ORRIDGE and COSEY FANNI TUTTI), the group split up and was not reac- tivated until 2004. In 1981, he, his new life partner, Paula ”P-ORRIDGE/ ALAURA O’DELL” BROOKING (b. 1963), Alexander FERGUSSON (formerly of ALTERNATIVE TV) and Peter CHRISTOPHERSON launched a multimedia pro- ject called PSYCHIC TV (renamed PTV3 in 2003) and the para-religious fel- lowship THEE TEMPLE OV PSYCHICK YOUTH (abbreviated TOPY), concerned with transgression and exploring the mystical sphere of human existence. In the early 1990s he renounced the membership of the latter, and while he was on a charity mission in Nepal in 1992, his flat was plundered by the police, who were searching for evidence of his alleged ritual rape and murder of his child. As a result, for fear of serious legal implications, he decided to relocate to the USA. Mutual accusations, increasing disagre- ements and a complicated family situation led to his separation from Paula P-ORRIDGE. A year later he met in New York his future wife Jacqueline ”LADY JAYE” BREYER-P-ORRIDGE (19692007). In 1998, along with Larry THRASHER and Bryin DALL, he started a new project THEE MAJESTY, a spoken word/electronic project. Five years later he changed his name to GENESIS BREYER / DJIN P ORRIDGE, and together with his wife he laun- ched a series of multimedia projects entitled Breaking Sex, involving the gradual restoring, through advanced plastic surgery, of the unity between physical masculinity and feminity; the aim being the achievement of per- fect hermaphroditism. Over the many years of his artistic activity he has remained remarkably undeviating about his opposing any culture patterns which determine human existence. In their stead he proposes an alterna- tive model of an individual capable to control and exert influence on the culture (hence the notion of ”cultural engineering” GENESIS P-ORRIDGE applied to his work and objectives). He applies a great deal of avant-garde modes of artistic expression, ranging from performance art, body art, mail art and video to new trends in popular and avant-garde music. Discography: as GENESIS BREYER P-ORRIDGE AND THEE EARLY WORM Early Worm (Dais Records 1968) LP collaboration with STAN BINGO What’s History (Nekrophile Rekords 1983) CD collaboration with The ANGELS OF LIGHT Je T’Aime (Sub Rosa 1985) 12” EP Interview By TOPYSCAN (Coyote Wisdom 1988) tape collaboration with The HAFLER TRIO Alaura / Slave Priest (Stampa Alternativa 1990) 3” CD + ksia?z?ka
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