Osha Neumann, son of Franz Neumann and stepson of Herbert Marcuse, member of the Motherfuckers; lawyer, artist, and author of the book Up Against the Wall Motherf**ker. A Memoir of the ‘60s, with Notes for Next Time. Interviewed by Adrian Mengay and Maike Pricelius in 2010, first published in datacide fifteen in 2016.
AM: In the 1960s you were a member of a radical political group called “Up against the Wall Motherfuckers” based in New York City. Could you explain what the Motherfuckers were?
ON: The Motherfuckers were a small group that formed on the Lower East Side in 1967. The Lower East Side of New York was a predominantly Puerto Rican ghetto at this point. It had been the entranceway for immigrants for many, many years. It had been a Jewish ghetto before the Puerto Ricans moved in. We have been called many things. Some people called us ‘a street gang with an analysis’. Ben Morea, who was one of the key figures, was identified as an anarchist. Others of us did not particularly identify either as anarchists or as Marxists or in any of the traditional political categories. We considered our base to be what the media called hippies – dropouts, freaks, countercultural youth who swarmed into this ghetto around the time when we were forming. It had been a place where the beatniks had been before the hippies, and then the punks came afterwards. It had cheap, cheap rents. There were squatters mixed in with the Puerto Rican population. At that point our base was, as I say, these hippies primarily, although attached to us at various times were groups of young Puerto Ricans, who would come to our events and our demonstrations.
AM: How was life in the Lower East Side? And what exactly did you do as Motherfuckers aside from organizing demonstrations?
ON: We lived largely communally, in crash pads or houses we had. We put on free nights, we gave out free food, we had feasts, we had a free store where people could come and give away things for free, and various other institutions. We published lots of – at that point – mimeographed flyers and then some pages in an underground newspaper that was published in the Lower East Side. After only a couple of years, actually, the situation began to change, both internally and externally, and the Lower East Side, the counterculture, although subject to the stresses of survival and repression from the police, had been still more or less free and joyous. But it got a harder edge. The drugs changed from pretty good acid to heroin, crack and speed. Gangs moved in – biker gangs – to contest with us for the turf, and also our rhetoric changed.
MP: How was the interaction between the Motherfuckers, the black community, and the Puerto Rican community on the Lower East Side? [Read more →]
The Rabbit Hole
(Creative Space, 2013)
and other writings at djbroadcast.net
Writing about music counter-cultural tendencies that we participate in poses questions about historification that are not easily resolved, but are rather left in a state of perpetual negotiation. Those who choose to undertake the task of critical writing that present counter-narratives to the omnipresence of music industry journalism in print magazines and on a plethora of music websites inevitably make strategic choices about modes of counter-dialogue to engage diverse readerships. In the last few years, there has been a resurgence of artists/musicians/participants who have printed a number of provocative books that we have followed with great interest. The medium of photography and the photo book was used to tell multiple, interconnected stories about free parties in the Paris catacombs in the truly illuminating Paname sans dessus, dessous! published in 2006. In datacide 10, I reviewed the problematics of Pencilbreak: A Graphicore Compilation, which took the strategy of representing music through the visual medium of flyers, posters and album covers. Published in 2011, Sudden Infant: Noise in My Head, The Actionistic Music and Art of Joke Lanz is a fascinating book that operates on multiple levels as a memoir, a photo book, a collaborative self-history and a discography through the inclusion of an interview with Joke Lanz, drawings, photos of performances, manifestos, poetry, concert posters and flyers, texts by collaborators, and a visual discography. Riccardo Balli engaged in a plundering of counter-narrative strategies in his Italian language publication on Milan’s Agenzia X called Apocalypso Disco: La Rave-o-luzione della Post Techno. The excellent book includes interviews with artists such as Christoph Fringeli, Sansculotte, Daniel Erlacher (Widerstand Records), Ralph Brown and others. Several chapters are made up of Balli’s ingeniously amusing counter-histories of interconnected music genres in a fictional plundering of writings of Philip K. Dick and Fulcanelli (first published in English in Datacide). Another book chapter blurs the boundaries completely between fiction and non-fiction in a retelling of some aspects of the Dead By Dawn parties in 1995. Academic writing informed by ethnographic and anthropological methodologies about sub-cultural musical experiences are investigated in the interview with Graham St. John in another book chapter. Most recently this year, there are two engaging examples of mixing the curatorial project of presenting counter-cultural tendencies through exhibitions with that of a companion book. One project was the exhibit and book Berlin Wonderland: The Wild Years Revisited 1990-1996, which featured short personal narrative texts by artists in music, theater and the arts that gave context to photographs grouped together in themes like ‘open doors’, ‘disarmament experts’, ‘wild gangs’ (both which focus on Mutoid Waste Company), etc. Opening on October 1 in Newcastle, Australia is Fistography – Bloody Fist Records – The Exhibition that displays all the label’s releases in chronological order along with ephemera including press clippings, posters, flyers, equipment and photos. This is a truly monumental archival undertaking documenting the years 1993-2004. Simultaneously, an internet radio broadcast out of Hertford featured the BF back catalog. The exhibit is complemented by a show featuring Xylocaine, Hedonist, Epsilon and Mark N spinning BF tunes on Oct 3. Mark N has also published a 300-page book documenting the label’s history titled Fistography: Bloody First Records, Newcastle, Australia, 1994-2004. Critical readers and participants may have these and many other examples in mind when undertaking the ruckus, fictional experience that is The Rabbit Hole.
This is a deeply amusing fictional novel that will no doubt make readers laugh wildly and at the next turn snicker knowingly at the maschinations of a collective that in one summer throws massive renegade soundsystem parties in various locations in and around London. Many readers, including myself, track down this paperback or ebook because it is one of the few fictional narratives about the worldwide teknival movement, and it is written by Cyrus Bozorgmehr aka Sirius, member of Spiral Tribe and SP23. One of the pleasures of reading this book is the constant elision between fiction, personal experience, and (non)-history – the reader may ask herself at any particular moment, ‘Is this a history of a soundsystem crew revealed in a over-the-top, far-fetched retelling, or a narrative slight of hand imagining what could be?’. That inquiry only takes the reader so far since there’s a lot going on in the book. What becomes much more satisfying is the reader’s traversal of the literary play between the comical, the serious, and the caricatured as the crew members’ grapple with the principles that inform their collective actions, deploy strategies of collaborative artistic creation, experiment with the transformative potential of music, deal with the insidious nature of the music industry and commercialism, and negotiate state repression and infiltration. [Read more →]