I recently received this announcement from Mark Philip Steele:
“Good news, folks, the ILLUMINATUS! comic I published back in 1987 is now in e-comic format, including text commentary. It’s a zip file available for download, and may end up at other sites in other formats. If you’re interested, download the comic and contact me about it. Some of the comments MAY be posted in further editions. There was one self-published issue, then 3 with Rip Off Press, and an unpublished 4th issue. Plans are for us to release one a month from now till we’re done.”
Christian GreerDespite numerous attempts to analyze its history, symbols, practices, and beliefs, scholarship on Discordianism has been largely deficient. The most pressing problem is that scholars have neglected the majority of Discordianism’s primary source materials, and are thus unable to provide the necessary contextual understanding for the readily available texts (and web-resources) they do study. The effect is that academic treatments of Discordianism have essentialized the religion according to a small, self-selected number of commercial publications entirely removed from their historical context.1
One of Discordianism’s two founders, Kerry Thornley, famously declared that if ‘religion is the opium of the masses, [then] Discordianism is the marijuana of the lunatic fringe,’ and this is made nowhere more clear than in its material culture over the last fifty-six years.2 The majority of Discordianism’s material culture has been comprised of self-published work in the form of religious certificates, ‘zines’, APAs (amateur press associations), live audio recordings of Robert Anton Wilson lectures, and, with the advent of the internet, BBSes (Bulletin Board System), PFDs, and blogs.3 The paper ephemera of Discordianism’s material history has not been catalogued by libraries, nor preserved by universities, but commonly remains in the possession of its initial recipients, or forgotten in the boxes that compose private zine archives. Lacking any familiarity with this ‘underground’ material, scholarly analysis of the mass-marketed Discordian texts, and Discordianism in toto, has been altogether superficial.
The front piece to the Paste-Up Discordia (The Sacred PUD). Courtesy the Discordian Archives.There are three major issues that have so far marred the study of Discordianism. The first concerns what has emerged as the locus classicus of Discordianism, the Princpia Discordia. As the first major Discordian text, the Principia Discordia went through four different versions before the publication of the Loompanics 4th/5th edition in 1979/1980, which most Discordians and scholars consider definitive.4 Deriving an interpretation of Discordianism from the Loompanics version of the 4th/5th edition, or any other edition of the Principia, effectively ignores the decades of doctrinal development that took place from its founding to the first printing of the 4th edition in 1970 by Rip Off Press. In neglecting the historical developments that led to the mass-marketed 4th/5th editions of the Principia, as well as the enormous amount of other self-produced Discordian materials dating from the late 1950s onwards, scholars have anachronistically defined Discordianism according to aspects of its present existence.5
The second issue concerns the lack of scholarly convention concerning which version of the Principia is regarded as authoritative. As a result of the 4th edition Principia’s ‘copyleft,’ or anti-copyright status, there are no less than five different published versions of the 4th/5th edition, in addition to innumerable online versions. While there is not a great deal of difference between versions, scholarly neglect of this point, as well as the lack of convention concerning which version of the 4th/5th edition of the Principia should be treated as authoritative, has instilled an unnecessary amount of irregularity into the study of Discordianism.6
The third issue is partly based on the first, but regards a more general misinterpretation of the meaning of the Principia within the Discordian milieu. Scholars regard the 4th/5th edition of the text as the central Discordian holy work, and it is not hard to understand why; it seems to offer all of the requisite data for a normative appraisal of a religious movement. It contains an origin story for the religion, a list of commandments, a liturgical calendar, a list of saints, and an account of Discordianism’s principle deity, Eris. In sum, the 4th/5th edition of the Principia seems to be a perfect index of everything a ‘real’ religion needs. This, of course, is precisely the problem. Leaving aside the fact that many of the aforementioned ‘religious’ aspects of Discordianism were added in successive editions of the Principia, the primary issue here is that Discordianism is explicitly not based on liturgical observance or orthopraxis, but rather on the utilization of beliefs as heuristic tools. Scholarly preoccupation with the religious minutia contained in the Principia evidences that scholars have missed an essential aspect of the Discordian ludibrium.
Since the various publications of the 4th and 4th/5th editions of the Principia read like conventional holy texts, or at least as a parody of one, scholars have mistakenly taken it as the text that has governed Discordianism since its inception. While some contemporary Discordians may revere it as such, familiarity with previous editions of the text, let alone the history of Discordianism, make it clear that this was not always the case. Discordianism did not reach underground audiences until nearly two decades after it was founded, and even then it was not an edition of the Principia that publicized the religion, but a trilogy of novels. Despite having numerous quotes from the Principia, the fictitious nature of Robert Anton Wilson and Robert Shea’s Illuminatus! trilogy (1975) of novels led many to believe that the Principia did not actually exist á la Lovecraft’s Necronomicon. Needless to say, Discordianism’s underground popularization was not based on teachings outlined in the first, second, third, or fourth editions of the Principia, but Wilson and Shea’s interpretation of them in Illuminatus! The first widely popular edition of the Principia was published nearly five years after Illuminatus! as a result of Loompanics publisher Mike Hoy reading the trilogy, and querying Hill himself as to the existence of such a text.7 The shift to institutionalization in contemporary Discordianism has led to the formalization of Discordian beliefs, and, central to this has been the reframing of the Principia as foundational to the religion. The scholarly preoccupation with the contents of the Principia illustrates the way in which scholars’ research agendas owe more to the contemporary trend towards institutionalization within the religion than rigorous historical research on it.
Read in terms of its evolution and alongside other Discordian material, it is evident that the various editions of the Principia were never merely parodies of sacred texts, nor were they strictly genuine attempts to fashion one. Instead, they were iterations of an idiosyncratic form of genre appropriation based on the conviction that all beliefs are heuristic tools for creating models of reality. Said more precisely, the various editions of the Principia were not just satire, but prime examples of the assiduous playing with religious forms that epitomizes Discordian belief. Essentially, this type of humorous play functions as the liturgical language of Discordianism. Reflecting William Burroughs’s famous adage, ‘nothing is true and everything is permitted,’ Discordianism is a meta-belief system in which abstract concepts like ‘holy scripture’ are utilized as expedient means to destabilize fixed assumptions about reality. Though more salient in later editions, the Principia appropriated the genre of sacred scripture in the same way that Camden Benares’ Discordian treatise, Zen Without Zen Masters (1977), utilizes tropes associated with Zen koan books, and the same is true for the appropriation of conspiracy theory in Wilson and Shea’s Illuminatus! trilogy. Discordian texts have taken the form of science fiction epics, historical dramas, anarchist philosophy, psychologized-occult manuals, and Zen teachings, and regardless of their form, the dynamics of these genre appropriations are the same. Discordian authors appropriate genre conventions only to exploit their ability to communicate the central metaphysical truth of their religion, namely, that the experience of reality entirely depends on the belief system, or model through which it is comprehended.8
Christian Greer is a PhD researcher in the field of Western esotericism at the University of Amsterdam. His primary focus is the history and material culture of Discordianism, the Church of the SubGenius and the Moorish Orthodox Church, particularly in the 1980-1990s. His dissertation, Angelheaded Hipsters: From Beatnik Antinomianism to Psychedelic Millenarianism is an intellectual history of the “counterculture” beginning with the revolutionary movements of the 1960s and ending in the 1990s with cyberpunk and fin de siècle cyberculture.
1 For a more detailed analysis of this problem in the work of one scholar, see Greer, Christian. ‘Review of Carole M. Cusack’s Invented Religions: Imagination, Fiction and Faith,’ Correspondences 2.1 (2014), pp. 109–114.
4 The Loompanics edition (1979) is known as the ‘4th/5th edition’ because it reprinted the original 4th edition published by Rip Off Press in 1970, as well as the 5th edition, which was nothing more than a Western Union telegram filled with the letter ‘M’. The Loompanics version is most likely considered authoritative on account of it being the first to include the 5th edition telegram, as well as material that was not included in previous editions, e.g. ‘the Gypsie Skrypto interview,’ and an introduction by Robert Anton Wilson. For a more comprehensive overview of the publishing history of the Principia Discordia see Gorightly, Adam. ‘Adam Gorightly on the Publishing History of the Principia Discordia’ https://www.youtube.com/watch?v=bUqVrH4luXc accessed 04/05/13; see also f.8.
5 Cusack’s Invented Religion (2010) exemplifies this error insofar as her familiarity with the Principia Discordia is limited to two mass marketed 4th/5th editions of the text, which bear little resemblance to the first edition produced decades earlier. This is made obvious by the fact that she seems unaware that the first edition had a different title as well as entirely different contents. See Cusack, Carole. Invented Religions: Imagination, Fiction and Faith, Farnham: Ashgate, 2010, p.28-29 as compared to the first edition reproduced in Gorightly, Adam. Historia Discordia: The Origins of the Discordian Society. New York: RVP Press, 2014, pp.25-80. Cusack is by no means the only scholar to make this mistake, indeed, the difference between editions of the Principia has not been noticed within any notable study of Discordianism; see also Urban, Hugh. Magia Sexualis: Sex, Magic, Liberation in Modern Western Esotericism. Berkeley: University of California Press, 2006, p. 233-235; Versluis, Arthur. American Gurus: From Transcendentalism to New Age Religion. New York: Oxford University Press, 2014, p.123-138.
6 The three most important academic texts on Discordianism have all used different versions of the 4th/5th edition of the Principia: Cusack cites the Steve Jackson Games version in Invented Religion (2010), Urban references the Loompanics version in Magia Sexualis (2006), and Versluis based his work in American Gurus (2014) on the Illuminet edition.
7 The earliest version of the popular Loompanics edition of the Principia was published in 1979, and it featured an introduction by Hoy. This version was superseded by the popular 1980 edition, which contained Wilson’s introduction. See Gorightly, ‘Adam Gorightly on the Publishing History of the Principia Discordia’.
8 Wilson refers to the means by which an individual can ‘meta-program’ their own reality as the ‘final secret of the Illuminati’. See Wilson, Robert A. Cosmic Trigger: Final Secret of the Illuminati Vol.1, Tempe, AZ.: New Falcon Publications, 1997, pp.29, 68-71.
“If they prove
that you are CIA,
demand back pay.”
—Letter from Discordian Society
co-founder Greg Hill to Kerry Thornley
dated February 19th, 1968
It’s long been rumored that Kerry Thornley was a CIA agent, a salvo first fired by Jim Garrison in his February 21st, 1968 press release which stated that Thornley was among a “…number of young men who have been identified as CIA employees, Thornley had a post office box in the federal building across from Banister’s office. Such post office boxes are customarily used by federal employees with clandestine assignments as ‘message drops’ as well as an acceptable excuse for regular visits into a federal building. Another of the young men having such a post office box was Lee Harvey Oswald. What this means is simply that Kerry Thornley and Lee Oswald were both part of the covert federal operation operating in New Orleans….”
Jim Garrison’s February 21, 1968 press release 'identifying' Kerry Thornley as a CIA employee.
During the course of research for The Prankster and the Conspiracy: The Story of Kerry Thornley and How He Met Oswald and Inspired the Counterculture (Amazon), I was unable to pin down any tangible evidence supporting these Thornley-CIA allegations and eventually just wrote them off as more of Garrison’s unsupported theories. Thus it came as a bit of a surprise to me when—in 2006—I happened upon Joan Mellen’s Farewell To Justice (Amazon) which stated in its preface:
“Kerry Thornley, the Marine Corps buddy of Lee Harvey Oswald, who told the Warren Commission that Oswald was a Marxist, turned out himself to have been a CIA employee trained, according to a CIA document, in Washington D.C., in chemical and biological warfare…”
At the time, this claim that Thornley was a documented CIA spook came as quite the stunner, and shortly afterwards I shared Mellen’s provocative pronouncement with Thornley’s long time friend, Louise Lacey, whose initial response was a sudden burst of laughter, followed by: “Dear, if Kerry was CIA, I think I would have known.”
“Dear, if Kerry was CIA,
I think I would have known.” —Louise Lacey
Louise, it should be noted, edited Thornley’s book Oswald for New Classics House back in 1965 and then later worked for Ramparts magazine as research director during Ramparts in-depth investigation of the JFK assassination, the first national magazine that was openly critical of the Warren Report. To this end, Louise worked alongside such notables as David Welsh, Mae Brussell, David Lifton and William Turner, and so when speaking of Thornley and/or the JFK assassination, Louise not only comes to the subject as someone who was a close friend of Thornley’s, but also someone involved very early on in JFK assassination research.
In Spring 2011, while conducting research for Caught in the Crossfire: Kerry Thornley, Lee Oswald and the Garrison Investigation (Amazon), I contacted Joan Mellen on how to go about obtaining a copy of this “CIA document” related to Kerry Thornley. Mellen replied that she’d send me a copy after she had time to recover from a recent medical ailment. Afterwards, I contacted Mellen periodically—on probably a half dozen occasions—but never heard back from her. Mellen, it should be noted, is still standing by her claim that Thornley was a CIA agent as evidenced in this recent interview.
More recently—on the advice of researcher Stu Wexler—I conducted a search of John Armstrong’s JFK assassination files at Baylor University online, where, lo and behold, I came across a copy of the document in question, which I post here for review.
In Farewell to Justice, Mellen identified the above as a CIA document and, alternately, as a DOD document. Page one clearly identifies it as a DOD document “translation” which was created as a request to the DOD from the House Select Committee on Assassinations (HSCA) in 1978. The upper right hand corner of the document is stamped:
DOD FILE REVIEW
PATRICIA ORR
Patricia Orr was a researcher for the HSCA and it appears that the document is her translation of Thornley’s service record. The document confirms that Thornley received training in biological and chemical warfare, but how Mellen arrived at the conclusion that this training was conducted by the CIA is unclear. In fact, there’s no mention of the CIA anywhere in the document—unless one is reading deeply between the lines. Well, there are the three last letters of Orr’s first name to consider perhaps.
It should be noted that Thornley received this biological and chemical warfare training at Atsugi Base in Japan which served as a CIA outpost during this period. In this regard, it’s conceivable that Thornley—and other Marines stationed at Atsugi—could have received training from CIA personnel also stationed at the base, but Mellen’s assertion that Thornley was a CIA employee is unsupported by the DOD document. What the thinker thinks, the prover proves…
On page 276 of Farewell To Justice, Mellen writes:
“From the Department of Defense files comes a document placing Thornley as a CIA employee who attended Chemical and Biological Warfare School. Receiving ‘technical instruction’ in Washington, D.C., Thornley moved from ‘confidential’ to ‘secret’ clearance. His course in ‘Atomic, Biological and Chemical Warfare’ ran from June to August 1960, and had begun at Atsugi…”
The term Mellen uses—“technical instruction”—actually appears in Thornley’s service records as “Tech instruct” which was an abbreviation for “Technique of Instruction,” a Marine Corps competition Thornley entered during this period.
According to the author’s page of Oswald, Thornley “…served in the Far East, in the First Marine Aircraft Wing, and distinguished himself again as a public speaker on political/philosophical issues by winning first place in the Wing Technique of Instruction Competition. He was therefore sent to Washington to appear in the finals…”
Photocopy of author's bio page taken from Kerry Thornley's Oswald.
The August 1959 edition of Leatherneck magazine also mentions that the Technique of Instruction competition was scheduled to be held in September 1959 in Washington, DC., which is listed in an entry from page 3 of Thornley’s DOD file:
14 Sep 59
Tech instr
to TAD
Wash, DC
While Joan Mellen found Thornley’s visit to Washington, D.C. somehow suspect, his service record—and other supporting documents which I post here—suggest that he was simply attending a Marine Corps public speaking competition, which was certainly nothing unusual for Thornley. According to the author’s bio page in Oswald: “While attending high school in Whittier, California, [Thornley] had won a number of public speaking competitions, including the Voice of Democracy Contest.”
A writeup from Kerry Thornley's 1957 high school yearbook on his participation in the Voice of Democracy Contest.
According to Joan Mellen, after Thornley received his “technical instruction” in Washington, D.C., in September of ‘59, he was “…moved from ‘confidential’ to ‘secret’ clearance….” This suggested (to Mellen, at least) that Thornley had graduated from Marines Corps Corporal to Secret Agent with the CIA.
It should be noted that “secret” clearance in and of itself is not special or unique and just because Thornley received “secret” clearance doesn’t mean he was a “CIA employee.” As my friend and former Air Force Office of Special Investigation (AFOSI) Special Agent, Walter Bosley, recently informed me:
“SECRET is the first level of anything close to serious, but it’s not the big prize level. It’s the first level of stuff that can get someone in big serious trouble if they mishandle it or, God forbid, sell it. There are a lot more personnel with SECRET than with TOP SECRET and beyond, of course, but it’s not insignificant.”
These duties were performed at Atsugi Base from which the U2 flights originated during this period, at the height of the Cold War. I would venture to guess that other enlisted men in Thornley’s unit who performed similar duties also held “secret” clearance.
Kerry Thornley in the Marines.
On page 67 of Farewell to Justice, Mellen endorses Garrison’s theory that the Old Post Office Building in New Orleans (also known as The Customs House) —located “across from Banister’s office”—was some sort of CIA spook central gathering place for, as Garrison described them, a “…number of young men who have been identified as CIA employees….” Garrison erroneously identified these CIA employees as Kerry Thornley, Lee Oswald, Thomas Beckham and Jack Martin, among others.
Document produced by Jim Garrison which lists the young men 'employed by the CIA post office....'
As it turns out, the Old Post Office Building was not exactly “across from Banister’s office” as Garrison described, but in reality a half mile away—or as Mellen more accurately notes in Farewell to Justice—in “close proximity.”
While Oswald was most likely involved in intelligence work during his Marine Corps service and afterwards, the claim that he was a CIA employee has never been conclusively demonstrated. To further suggest that Jack Martin or Thomas Beckham were CIA employees seems based primarily on the many sensational claims made by Beckham and Martin themselves in which I place little, if any, stock. This is not to say that I completely rule out any or all of these theories suggesting that Beckham or Martin might have been CIA agents or connected in some way to the Agency. However, these allegations are just that: theories to which Garrison never produced any substantial supporting evidence.
Lastly—to toss more water on this smoldering fire—I recently stumbled upon the following declassified CIA document (at the National Archives online database) dated January 1968.
Declassified CIA document which lists Thornley’s CIA connections as 'None.'
Given the 1968 date, one can assume that this document was prepared in response to Garrison’s allegation that Kerry Thornley was a CIA agent. In this regard, the document lists Thornley’s CIA connections as “None.”
“And so it is that we, as men, do not exist until we do; and then it is that we play with our world of existent things, and order and disorder them, and so it shall be that non-existence shall take us back from existence and that nameless spirituality shall return to Void, like a tired child home from a very wild circus.” —Principia Discordia, pg 00058
Last known whereabouts of Malaclypse the Younger. Greg Hill—otherwise known to the world as Malaclypse the Younger—died on July 20th, 2000, spending his final days in Pleasant Hill, California at or near the pin you see on this google map.
The address I used for the web search (of the last known whereabouts of Greg Hill) was actually the residence of a fellow named Allen “Bud” Simco, who was a long time friend of both Greg Hill and Kerry Thornley. In fact, Simco served in the same outfit as Lee Harvey Oswald and Thornley at El Toro Marine Base and actually wrote a chapter for Thornley’s book Oswald titled, aptly enough, “Oswald and Thornley.”
Simco lived right across the street from Greg Hill at the time of Hill’s passing, and during those final days—Simco told me—he was able to look directly across the street and see Greg through his home office window working at his computer on his final project, A History of Everything (Download PDF).
I was first informed of Greg Hills’s passing in an email from Bob Newport, which included a photo of Greg taken just a few days before he died with text below the photo announcing Newport’s successorship of the Norton Cabal Archives. In this regard, Newport was referring to the Discordian Archives later passed on to me, your humble Discordian chronicler, in 2009.
Daily Planet News Flash: Greg Hill and the Norton Cabal Archives.
Below is an excerpted email from Allen Simco regarding Greg Hill’s passing, which gives a good snapshot of Greg in his final days.
Excerpted email from Allen Simco re: Greg Hill’s passing.
Greg Hill’s dear friends and fellow Discordians—Bob Newport and Louise Lacey—each wrote obits for Greg, shared with you here.
Bob Newport’s obit for Greg Hill.Louise Lacey’s obit for Greg Hill which she sent to the San Francisco Chronicle. At the bottom of the page Louise wrote: 'This was my obit. The papers didn’t carry it. His mother was glad. She didn’t want any acknowledgement because, she said, Greg didn’t.'
Adam Gorightly at The Find The Others Conferestival, Liverpool, England, Nov. 23, 2014. Photo by Adam Clark. Last November, during the Discordian Holy Days of November 22nd and 23rd, I had the distinct and mind blowing privilege to attend the Cosmic Trigger Play and Find The Others Conferestival in Liverpool, England, the cradle of yellow submarine civilization.
I’d planned to do a write up of the Cosmic Trigger event, but each time I attempted to put pen to paper, I felt I could never do justice to the experience, as it had a profound effect on me—equally hilarious and heartbreaking—and each time I attempted to write about it, my words fell short.
Fortunately, Ian “Cat” Vincent did all the heavy lifting for me in his review of the event from the December 2014 issue of Fortean Times and gave us the go ahead to reprint it. Goddess willing, Daisy Eris Campbell and Her Band of Merry Pranksters will soon bring their glory to us from across the pond. Hail Eris and keep the rainbow knickers flying! —Adam Gorightly
The Cosmic Trigger Experience — Two Days That Shook The Wirrall
by Ian Vincent
“This is too important to take seriously.”
—Robert Anton Wilson (1932-2007 CE)
This is not, and could never have been, an objective review. Robert Anton Wilson matters too much to me.
Wilson – writer, philosopher, occasional past Fortean Times contributor and woefully unsung cultural influence on everything from conspiracy theory to comic books – matters to Daisy Campbell, too. She literally would not be the woman she is today without him.
Daisy Eris Campbell was conceived backstage at the Liverpool School of Language, Music, Dream and Pun, during her father Ken Campbell’s ground-breaking stage adaptation there in 1976 of Wilson and Robert Shea’s novel Illuminatus! (“It was a long play” noted her mother, actress Prunella Gee.) Unsurprisingly, theatre was in Daisy’s blood and drew her on to work with her father on his 24-hour-long adaptation of Neil Oram’s The Warp and other productions.
A while after Ken’s death in 2008, several people approached Daisy about the possibility of her directing a revival of Illuminatus! for the stage. This idea didn’t appeal – but the string of synchronicity which had begun at the moment of her conception seemed to be tugging her towards doing something connected to both Wilson and Ken’s work. Daisy’s idea was to create a stage version of Wilson’s autobiography, Cosmic Trigger: Final Secret of the Illuminati which, since it included scenes from when Wilson came over to London to meet Ken and make a cameo appearance in the notorious Black Mass scene in Illuminatus!, would allow her to pay homage to both Wilson and her dad alike. The fact that Daisy had just reached the same age as her father was when he mounted Illuminatus! was icing on the golden apple.
After getting both the blessing and the rights to the book from Wilson’s surviving daughter, Daisy (along with co-conspirator John Higgs, author of the recent splendidly Discordian biography of The KLF, whose Bill Drummond worked on the Illuminatus! sets) took to the road to both promote the entirely crowd-funded show and test out early scenes with a hopefully sympathetic audience. It’s here that I enter the story.
In October of 2013 (on the 23rd, of course), Daisy and Higgs appeared at London’s Horse Hospital venue with a pair of talks about both Wilson and the production, and to offer a couple of preview scenes to view – and I made a point of being there. Wilson had been a significant influence on me since my early teens, and I was delighted to see a revival of interest in his work, especially in times where rising dualistic us-and-them narratives trouble the globe… maybe a little of Wilson’s multi-model approach and Gnostic Agnosticism coming back into the cultural conversation could help, in some small way.
The preview scenes – a meeting between Wilson, William S. Burroughs, Alan Watts and his wife at Playboy Magazine in 1968, and an interview with Ken Campbell during the Illuminatus! production&mdashwere smart, funny and hinted that the final production would be something special. Adding further interest was the news that writer, magician and Wilson fan Alan Moore would be contributing his recorded voice and visage to the play in the role of the artificial intelligence FUCKUP.
Cut to February 23, 2014.
Daisy and Higgs brought their act to the Kazimer Theatre in Liverpool. With the crowdfunding well on course and the play close to having a finished script, the next question was: where to mount the play? Daisy’s first instinct was Liverpool – both for the connection to Ken’s original and the synchronistic echoes with both the production and the life-changing vision of C.G. Jung, who had once dreamed that Liverpool, a city he had never before visited, was the Pool Of Life. The Kazimer gathering was partly to share the progress, show some exclusive footage on Alan Moore talking about Wilson’s influence on both his attitude to conspiracy theory and magic, and to air another preview scene – a recreation of Wilson’s first LSD trip. All of these were spectacularly impressive – especially the LSD sequence, which successfully employed clever scene-changing, music and some heart-rending acting from Oliver Senton, the actor cast as Wilson. By the end, it was clear that Liverpool was going to be the right place.
Following the performance, a group of us went to Mathew Street, just down from where the old Cavern Club had stood, to conduct a small street ritual to the bust of Jung there, which had been commissioned by Peter O’Halligan, founder of the Liverpool School of Language, Music, Dream and Pun, many years before. Being not unfamiliar with the idea of street magic, I suggested we combine the ritual with a calling upon the synchronistic powers of Alan Moore’s Liverpool-born creation, John Constantine… and so we did.
By the time the play was ready for its first performance on November 22nd at the Camp And Furnace venue in Liverpool’s docklands, the weekend of its premiere had expanded considerably – Daisy and her cohorts not being the type to do things by halves, it was now going to be a two day celebration of the thought and works of both Wilson and Ken Campbell.
The play itself began by setting out a new standard instruction for theatre… “Start with a striptease, and then build to a climax”. The striptease is a recreation of the story of Ishtar, surrendering all her clothes and symbols before entering, naked and pure, into Hell. From there, Senton’s Wilson takes up the tale of how he entered that most illuminating of Hells, The Chapel Perilous – from which one can only emerge as a stone paranoid, or an agnostic.
There are many astonishing things about the play of Cosmic Trigger itself: the sheer range of emotion and theatrical styles (from hilarity to tragedy, from crisp two-person dialogue scenes to full-blown song-and-dance numbers); the dedication and enthusiasm of the cast (all were excellent, but stand-outs were Senton, Kate Alderton as his wife Arlen, Josh Darcy as Ken Campbell and 15 year old Dixie McDevitt, Daisy’s daughter, as Luna Wilson); the back-projected sets by Scott McPherson combined with recreation of Bill Drummond’s original Illuminatus! sets; Steve Fly’s music, songs and live drumming… but one thing I especially appreciated was the skill with which Daisy adapted Wilson’s book with great fidelity, while not allowing it to fall into hagiography – both Bob and Ken are shown as fragile, deeply human men, faults and all – and their work all the better for it.
It is also likely to remain the only stage production in which a woman, playing her own mother, recreates the moment of her own conception.
The rest of the festival was overflowing with joys. The evening show following the performance included outstanding work from a range of performers, including Ken’s former lover & protege Nina Conti, whose skilled and twisted ventriloquism routine had the audience crying with laughter, and music from T. C. Lethbridge and a DJ set from Youth of Killing Joke.
The Sunday – the 23rd, Harpo Marx’s birthday – was no less significant, with a range of talks, workshops and performances. It began with a powerfully moving ritual to the Ancestors, given by Rupert and Claire Callender of the Green Funeral Company (http://www.thegreenfuneralcompany.co.uk/). Speakers included Robert Temple (whose book ‘The Sirius Mystery’ had been such an influence on Wilson and who coined the term Cosmic Trigger), Discordian archivist Adam Gorightly and Robin Ince (who spoke movingly and hilariously of his love of Wilson’s angle on skepticism). The art show contained contributions from the likes of Jimmy Cauty, the other half of the KLF (who also designed the posters) and Melinda Gebbie. There were also bands, DJ sets and a film show (which included one of Wilson’s favourites, Orson Welles’ ‘F For Fake’ and the first showing of the video of Alan Moore’s ‘Moon and Serpent Grand Egyptian Theatre of Marvels’ performance/ritual of 1994).
And then there was one last twist for me… when Daisy asked if I happened to be an ordained priest (I am – thanks, Universal Life Church!) because she had decided that it was the perfect day to marry her long time partner, Greg Donaldson – “all my friends are here!”. It was half-improvised, a bit ramshackle in places… but, somehow, a glorious wedding. Much like the whole event.
‘Cosmic Trigger’ the play went on to a sold-out 5 performance run in London the following week. Plans are being made for an international tour. Keep an eye on cosmictriggerplay.com for details.
Hot off the presses is Discordia Britannica, the product of a couple Liverpudian Discordians named Lucas and Jason who informed me that, “We like the home-made look of it—it reminds us of things we used to pick up all the time but never see anymore.”
Featured in this first edition is an interview with RAW conducted by Lewis Shiner that originally appeared in issue #5 of Trajectories (not to be confused with RAW’s magazine by the same name), a Sci-Fi zine published by Richard Shannon in Austin, Texas in the late-80s, as well as a Q&A with Anton Newcombe of Brian Jonestown Massacre—not to mention an article by yours truly entitled “The Dead Comedian Conspiracy.”
For more info email discordian9@gmail.com or check ‘em out on facebook.
Cover, Illuminatus! LeviathanOn page 657 of Illuminatus!, a quote from Lord Omar Khayyam Ravenhurst (aka Kerry Thornley) starts out The Tenth Trip chapter with:
“Ye have locked yerselves up in cages of fear; and, behold, do ye now complain that ye lack freedom.”
“Kerry Thornley wrote those words in the mid 1960s and within 10 years he had become a clinical paranoid himself, in the judgment of almost all of his friends, including Dr Robert Newport, a psychiatrist who had known Kerry since high school. The moral of this seems to me: take great care which nut cases you dare to mock, for you may become one of them.”
In Illuminatus!, RAW and Shea indicate that this quote originates from “The Epistle to the Paranoids,” which was taken from Thornley’s The Honest Book of Truth… which is not the truth! In Historia Discordia: The Origins of the Discordian Society, The Honest Book of Truth is reproduced in its entirety, as is “The Epistle to the Paranoids,” which were two separate and distinct works.
The first chapter of “Epistle to the Paranoids” originally appeared in Principia Discordia, and the remaining two chapters were discovered in the Discordian Archives, which are reproduced here for your reading pleasure!
Chapter 1 of 'Epistle to the Paranoids' from page 00069 of the 4th edition of Principia Discordia.Chapter 2 of 'Epistle to the Paranoids,' page 00001. Courtesy of the Discordian Archives.Chapter 2 of 'Epistle to the Paranoids,' page 00002. Courtesy of the Discordian Archives.Chapter 3 of 'Epistle to the Paranoids.' Courtesy of the Discordian Archives.
For further insights into Illuminatus!, you can find the group reading page at RAWIllumination.net.
On page 622 of Illuminatus!, Hagbard Celine’s Never Whistle While You’re Pissing reminded me of an early-80s letter in the Discordian Archives addressed to Greg Hill and Kerry Thornley courtesy of a Discordian named Semaj the Elder.
Letter to Greg Hill from Semaj the Elder, circa early-80s. Courtesy of the Discordian Archives.
I really don’t know much about Semaj the Elder (or whatever his real name was) other than he resided in Davenport, Indiana and published a Discordian zine during the early-80s called A.M.O.C.K. of which there were about a half dozen copies discovered in the Discordian Archives.
Scattered copies of Semaj the Elder’s A.M.O.C.K. (The Ancient & Mystical Order of the Cabal of Kallisti) also titled Master Monograph for All Discordians. Courtesy of the Discordian Archives.
For the hell of it I googled Semaj the Elder, which led me to a Google Books page for (of all things!) The Prankster and the Conspiracy and a passage from a letter I’d totally forgotten about that pertains to Semaj the Elder written by Kerry Thornley to Greg Hill in 1982, during a period when Kerry was leading a vagabond existence:
“I will be ambling out to Tampa in the latter half of June, visiting [Elayne Wechsler] in New Jersey, a delightful psych student in Boston named Sean Hugh—maybe Arthur Hlavarty in Durham on the way—Bob McDonald in Virginia—some Oklahoma Libertarian, possibly the SubGenii, certainly Semaj the Elder in Davenport, et al. No telling how long it will take me to reach California, but I’ll try to send you a postcard of advance warning…I’ll probably come back to Tampa at least another year. Paula says that’s okay if I work full time until Christmas, to which I’ve no objection. Next winter after that I’ll probably go to Miami and find work long enough to get my own home until spring. Unless, somewhere along the line, I should find a publisher for one of my books—in which case all plans will be up for rethinking….” The Prankster and the Conspiracy, pages 236 – 237.
Letter from Kerry Thornley to Greg Hill circa 1982. Courtesy of the Discordian Archives.
In Semaj’s letter to Hill and Thornley, he mentions recent conversations with Bob Shea about a pamphlet project called Never Whistle While Your Pissing Part II, and was writing Greg for permission to quote from Principia Discordia. The letter indicates that Shea and RAW were contemplating at one point actually writing part 1 of Never Whistle While Your Pissing (NWWYP) but never got around to it.
Later, Semaj encourages Thornley to write HBT (The Honest Book of Truth)—assuming that HBT was the same as NWWYP1—a book that was never actually completed except for excerpts that appear in Illuminatus! However, this wasn’t the case—Kerry authored a complete version of The Honest Book of Truth, which yours truly unearthed in the Discordian Archives and that appears in its entirety in Historia Discordia: The Origins of the Discordian Society available while supplies last from your finer internet book retailers.
Semaj also invites Thornley to CHICON, informing Kerry that Elayne (Wechsler) will be attending, as well. Elayne Wechsler—it should be noted—published a memorable zine back in the early days of the zine movement called Inside Joke, which featured stories and articles written by none other than Kerry Thornley and Greg Hill, and artwork by such notables as Ace Backwards and Roldo, the fellow who created the original artwork that appears on the cover of Historia Discordia: The Origins of the Discordian Society available while supplies last from your finer internet book retailers.
What I find most intriguing about this letter is that Semaj mentions he’s working in cahoots on the NWWYP2 project with Mike Gunderloy, a legendary name in the annals of the Zine Revolution and publisher/editor of the famed Factsheet Five.
If it hadn’t been for Factsheet Five, I probably wouldn’t even be writing these words right now—nor would I have explored many of the arcane avenues that entered my frame of reference during those heady days of the late-80s and early-90s when I was writing for the many zines I discovered in the pages of Factsheet Five. In fact, it was in Factsheet Five that I was first introduced to Kerry Thornley who had a recurring column there called “Conspiracy Corner”.
Copy of Factsheet Five addressed to Kerry Thornley. Courtesy of the Discordian Archives.
In one way or another, Factsheet Five introduced me to many zines I wrote for and friends I made during this period with ‘zinesters like Greg Bishop, Robert Larson and Peter Stenshoel of The Excluded Middle; Kenn Thomas of Steamshovel Press; Tim Cridland’s Off The Deep End; Wes Nations of Crash Collusion; SMiles Lewis of ELF Infested Spaces; Al Hidell and Joan D’Arc of Paranoia; Johnny Walsh of INFOCULT; Tracy Twyman of Dagobert’s Revenge; Erik Bluhm and Mark Sundeen of The Great God Pan—and I’m probably forgetting a half dozen more so my apologies to any former zinesters out there I’ve failed to mention.
Early Discordian Barbara Reid was a familiar figure in New Orleans bohemia of the 1960s. Known in the French Quarter as “Mother Witch,” she was an avid voodoo practitioner, claiming to have learned the craft from an Orleanian Creole who was a spiritual descendent of Marie Laveau. According to Reid, she was the only Caucasian to whom this knowledge was passed on.00001
Reid worked as a writer and producer for New Orleans television station WDSU and made occasional appearances on local radio, including a 1970 episode of The American Legion Hour on WTIX-AM called “Witches and Metaphysics.” She frequently appeared in newspaper stories, such as a June 1969 Times-Picayune article about Friday the 13th superstitions in which Reid informed the reporter: “I am not a witch, but I’ll show you what a witch can do if you make me out as a kook.”
June 1969 Times-Picayune article about Friday the 13th with Barbara Reid.
A Times-Picayune story from September 1964 concerned the closing of Kerry Thornley’s favorite French Quarter hang-out, The Bourbon House. To mark the event, a mock funeral procession was staged, which—along with jazz band accompaniment—included Barbara Reid in a coffin “…clad in her usual all-black garb and sporting a black beret and cigarette holder.”
September 1964 Times-Picayune article featuring Barbara Reid in a coffin. Her name is misspelled as Reed.
Known for its rag-tag collection of beatniks, poets and jazz music aficionados, many of the Bourbon House regulars—at the urging of Barbara Reid—began staging informal jazz sessions in the early-60s at Larry Borenstein’s art gallery, an institution that would eventually be renamed—and gain international acclaim—as Preservation Hall, the legendary French Quarter music venue still in operation.
Barbara Reid, with daughter on her lap, at Preservation Hall. Louisiana Music Magazine, Winter 2012.
Preservation Hall officially opened its doors on June 10th, 1961, an enterprise launched by Reid and her partner in the venture, Kenn Mills. These activities—with Reid at the helm—led to a revival of the traditional jazz scene in New Orleans. However, Reid’s participation in the early days of Preservation Hall has been mostly expunged from the historical records due to a falling out she had with Larry Borenstein, the owner of the venue.
Barbara Reid’s campaign poster. Reid was instrumental in recording many of the local jazz musicians of the era and—according to her husband, Bill Edmiston—helped integrate the two New Orleans musician unions that had previously segregated blacks and whites.
If all that wasn’t enough, Reid was one of the first members of the New Orleans branch of the Discordian Society, claiming at one time or another to be the reincarnation of Goddess Eris herself! Whatever the case, Reid certainly brought a high degree of chaos into Kerry Thornley’s life during the Jim Garrison investigation period when she placed Kerry in the company of Lee Oswald in September of 1963, a couple of months before JFK’s assassination.
Barbara Reid’s Legion of Dynamic Discord certificate issued by Lord Omar K. Ravenhurst, September 1964. From the House Select Committee on Assassination files, National Archives.
According to Discordian Society co-founder Greg Hill, Barbara Reid was an aspiring politician, pot dealer and former lover of Jim Garrison:
“When Barbara ran for City Council [in 1964], Garrison was absolutely against it and, she told me, repeatedly warned her to stop playing around where she might get hurt. And that, of course, made her all the more anxious to run. I was going to be her Campaign Secretary, but the draft caught up with me and off I went Ft. Polk. When I returned for a day, 8 weeks later, the election was all over with and she placed #3 out of four (not bad, considering). She was pushing for the black vote, and had some kind of lowdown on corruption with the Fed Housing section of the city. She also had the bohemian vote; her posters depicted a caricature of her, all glasses, beret and cigarette holder. It was during this time that she told me that Garrison was an ex-lover of hers and that his warnings to her were as a friend to a friend (though later I got the impression that he was pretty exasperated with her). Like everything else she told me, I didn’t know if I should believe it or not and so, like everything else she did and said, I just enjoyed the circus and didn’t bother believing or disbelieving. I think she said that the affair was sometime ago before Garrison became prominent. She spoke of him with fondness, though annoyed with his not backing her attempted sojourn into city politics.
“I left before Barbara was busted for pot (curiously enough, I felt that the Quarter was being very uncool narc wise, and predicted a giant bust by October—but nobody took me very seriously. I missed the mark by about a month, I think. Many people got it bad, according to what I heard later.). Anyway, she once spoke of not being too concerned with being busted because she ‘could take care of it.’ At the time I wondered if she meant Garrison, but didn’t press the delicate subject…”00002
April 11, 1964 New Orleans States-Item article on Barbara Reid pot bust.
According to the New Orleans States-Item, Reid was arrested on April 10th, 1966 following a six month investigation when narcotics officers seized a large quantity of marijuana from her apartment. Reid—identified as an “unsuccessful candidate last November for District C”—told officers that she was a “den mother” at the Quorum Club, a bohemian coffee house in the French Quarter where she presided over a gaggle of hippie kids. Evidently, the Quorum Club was at the center of this six month investigation. Curiously, Reid’s arrest record for the pot bust identifies her as a “fugitive from Arizona.” These charges were later dropped.
April 10, 1966 Barbara Reid arrest report.
Perhaps what Reid meant by taking “care of it” was that—because of her inside track to Jim Garrison—she could either blackmail or bribe her way out of the charges. Contrary to popular mythology, Garrison was not immune to this type of corruption. In 1970—following a performance by The Grateful Dead at a New Orleans venue called “The Warehouse”—the band’s hotel rooms were raided by police and several members were arrested on drug charges, an incident recounted in their song “Truckin’” and the line: “Busted down on Bourbon Street…”00003 Afterwards, The Grateful Dead tour manager was able to bribe Garrison to take the bust off the records.00004>
In February 1965, Reid was arrested with members of the Hell’s Angels and charged with “bringing the Hell’s Angels to New Orleans.”00005 A February 25th, 1966 New Orleans States-Item article stated that the charges against Reid (identified as “Barbara Reed” in the arrest report) had been dropped, although the four Hell’s Angels “would be held as possible fugitives…”
February 25th, 1966 Times-Picayune article on Hell's Angels and Barbara Reid.
One of Barbara Reid’s more obscure connections involved the Process Church of the Final Judgment, a counterculture cult that emerged in England during the mid-60s of which many dark legends have been spun over the years, first by Ed Sanders in The Family: The Story of Charles Manson’s Dune Buggy Attack Battalion and later by Maury Terry in The Ultimate Evil.
Ed Sanders claimed that The Process Church had a “baleful influence” on Manson and his minions, while Maury Terry alleged that the group was implicated not only in the Tate-LaBianca murders, but the Son of Sam slayings, as well, and that Process Church leadership oversaw a vast Satanic network dealing in drugs, pornography and ritual murder.
In correspondence with this author, Kerry Thornley wrote that he “…first encountered the Process Church in New Orleans in Feb. ’68 when I was there to testify, reluctantly, to the Grand Jury. Barbara Reid, the principal witness against me, and a friend (!) of mine, was said to be ‘up to her ass’ in The Process, which, indeed, maintained a coffee house half a block from Barbara’s apartment. I went over there with Slim (Brooks)… and saw pamphlets about Satan On War and Lucifer on War and Jehovah on War—which I found confusing because I thought Satan and Lucifer were both the same guy, until then, (of course—heh-heh)… A bunch of pale, thin zombies were sitting around in this place. I was telling very funny Garrison stories but nobody was laughing…”
In the next installment we’ll explore Barbara Reid’s involvement with Jim Garrison’s investigation and her role as a Dealey Plaza Irregular.
To read the whole crazy story pick up my book Caught In The Crossfire: Kerry Thornley, Lee Oswald and the Garrison Investigation (Amazon) while supplies last!
Thanks to Tim Cridland for unearthing many of the materials used in this post.
