by David Jay Brown
by David Jay Brown
Jeff McBride is recognized as one of the most talented and respected stage magicians in the world, as well as a foremost innovator in contemporary magic. He was awarded the title “Magician of the Year” by Hollywood’s famed Magic Castle for his remarkable sleight-of-hand abilities, and he was voted critics’ choice as “Best Magician in Las Vegas” in the Review-Journal annual poll at Caesars Magical Empire in Las Vegas. McBride performs regularly to standing ovations at some of the world’s most spectacular theaters–including Caesar’s Palace in Las Vegas, Radio City Music Hall in New York, and Her Majesty’s Theater in London.
Before starting his solo career, McBride was the opening act of choice for Tina Turner, Diana Ross, and other top stars. His show “McBride-Magic!” was the featured attraction at the Monte Carlo Festival of Magic, and his show “Mask, Myth & Magic” won acclaim Off-Broadway and on national tour, as well as at arts festivals in Barcelona (for the 1992 Olympics), London, Hong Kong, China, and Bangkok.
McBride has appeared in numerous television specials. His spectacular “Burned Alive!” escape was highlighted the ABC TV special “Champions of Magic.” He was featured on NBC’s “World’s Greatest Magic”, the PBS documentary, “The Art of Magic,” The Learning Channel’s “The Mysteries of Magic”, and the PAX series, “Masters of Illusion.” McBride also worked on the Discovery Channel’s “Mysteries of Magic”, where he served as a consultant on shamanism and ritual magic. The Fox television network even devoted a Star Trek Deep Space 9 episode to McBride’s mind-bending illusions, by having him guest star on the show as “Joran”, a role created especially for him.
McBride draws upon many traditions in his magic shows. He has traveled the world extensively, studying different magical traditions, which he incorporates into his performances. He is well-known for his use of masks, and he weaves myth, mime and dance together with comedy and theater, blending a myriad of cultural influences into his performance. His background in psychology, hermetic philosophy and alchemy, are also integrated into his acts. McBride has created a wizardly blend of multicultural entertainment spectacles that echo down the corridors of time to the shamanic origins of performance magic. New York Times columnist Glenn Collins writes, “What Mr. McBride gives his audiences is a mesmerizing performance…a magic show that is at once a celebration of mystery and a struggle to understand powerful forces.”
In addition to his conventional magic shows, McBride also regularly leads ceremonial rituals at large outdoor gatherings, where he blends performance magic with alchemical “magick” and traditional shamanic rituals, sometimes for several consecutive days and nights. Each year, amongst the ancient redwood trees in the Santa Cruz mountains of California, he leads a five day ritual theater festival called Fire Dance, which combines magic with midnight fires, nonstop drumming, chanting, prayers and performances from many different traditions. The Fire circle festivals are now being done all over world–across the U.S., Hawaii, Amsterdam and Bali.
In addition to his work as a performer, McBride also lectures and runs workshops for such diverse groups as The Smithsonian, The Disney Institute, the International Brotherhood of Magicians, and the Center for Symbolic Studies. McBride also founded The Mystery School, an organization of magicians who are interested in exploring “the deeper sides of the art of magic”. This unique experiential retreat for magicians was the subject of an acclaimed 1994 CBC-TV documentary hosted by Arthur Kent. McBride is also the cofounder of the WorldMagicsTM Festivals–multi-cultural celebrations of the environment, or “enviro-magic”–and with Eugene Burger he teaches regular sessions of “McBride’s Master Class” at his home studio in Las Vegas, as well as semiannual retreats for the further exploration of the magical arts.
McBride coauthored the book Mystery School: An Adventure into the Deeper Meaning of Magic. Although the book is written primarily for practicing magicians, I think that it would be of interest to anyone intrigued by alchemy, mysticism, and the transformation of consciousness. His videotaped series teaching “The Art of Card Manipulation” is among the best selling magic teaching videos of all time. To find out more about McBride’s work his web site is: www.mcbridemagic.com
I met Jeff at a large pagan gathering in upstate New York called the Starwood Festival, where he was performing and I was lecturing. Before returning to California, I had lunch at he airport with him, writer R.U. Sirius and his fiancé graphic artist Eve Berni. When the checks arrived at the end of our meal, I quickly snatched up the four leather pouches that hid our checks, and without looking inside them, held them out like I was fanning a deck of cards. I asked everyone to pick a pouch, any pouch. Everyone took a pouch, and when each was opened–miraculously–we all had our own bill. “How did you do that?” Jeff asked. I just smiled.
Jeff currently lives in Las Vegas, Nevada, where he performs regularly with his wife Abbi Spinner. Earlier this year, McBride previewed his new theatrical show “The Forbidden Secret of Magic” with Abbi and Eugene Burger at Magicopolis magic theatre in Los Angeles, and presented his new grand illusion spectacular “Jeff McBride-Abracadazzle!” to standing ovations at the Claridge in Atlantic City. I interviewed Jeff on September 15, 2002, and again on February 18, 2004. Jeff speaks slowly and precisely. He puts a lot of thought into his words. Jeff has a strong sense of intuition, and a strange synchronicity seemed to guide our conversations. It was as each of his answers seemed to anticipate my next question. Among the many subjects touched upon in this interview, we discussed his background as a magician, the relationship between shamanism and stage magic, and how the placebo effect influences healing.
David: What were you like as a child?
Jeff: I was very hyperactive, always looking for a place to store my energy. I was into masks, horror movies, and drumming. I had a lot of energy that I needed to find a creative outlet for. I initially found it through drumming and martial arts. Then I eventually discovered dance and performance magic. These became ways for me to channel all of this energy. I’m still very blessed with this energy, and I found a way to channel the energy at a very early age.
David: How did you become interested in stage magic?
Jeff: I grew up in upstate New York, and I was very isolated from other kids. There were no magicians in the area. I found a magic book next to the music book that I was studying in school, and that opened up a whole new world for me. I was taking books out from the library on music, and there was a book on magic next to them. I had never really seen magic performed anywhere, but I started reading about it.
David: How old were you at the time?
Jeff: Eight years old. I think every kid, when they’re about seven, eight years old is looking for sense of personal power, something to make them different or stand out. And I was the only magician, and that felt really good to me. There was nobody they could compare me to, as bad as I was.
David: How have your travels influenced your stage performance?
Jeff: My performance is drawn from the roots of many different world theater disciplines. When I was in Japan I studied Kabuki theater. When I was in Europe I studied classical mime at Comedia delle Arte. Wherever I go, I try to pick up some of the influence of the culture–especially by meeting magicians in the many different places that I travel, finding out the way people experience magic differently in the world, and by the way the performers create their magic and rituals.
David: Are there other people who have been integrating mime, dance, comedy, and theater into their magic performance, or is this combination pretty unique to you?
Jeff: I think the blend that I have is quite unique. However, comedy and magic–that’s been done since the very
Shpongle & Psychedelics:
By David Jay Brown
Simon Posford (a.k.a. Hallucinogen) is a British musician and producer, specializing in psychedelic electronic music, spanning many genres from psychedelic trance (psytrance), to rock, to electronica.
Posford’s first studio album, Twisted, was released in 1995 under the artist name “Hallucinogen.” Twisted is considered one of the most influential albums in the genre of psytrance, and Posford’s connection with psychedelics was evident from the title of the very first track–“LSD,” which, to this day, remains the defining sound of a form of electronic music that originated during the late 1980s in Goa, India called “Goa trance.”
In 1996 Posford and Australian musician Raja Ram created one of the most popular electronica music projects of all time–Shpongle. Arguably, not since The Grateful Dead has a brand of popular music been so lovingly associated with psychedelics as Shpongle has. Psychedelics have played a huge role in the creation, performance, and experience of Shpongle’s music, which is extremely popular among members of the psychedelic community.
Posford is generally responsible for coordinating the synthesizers, studio work, and live instrumentation, while Raja contributes broad musical concepts and flute arrangements. Shpongle’s unique style combines Eastern ethnic instruments, flute riffs and vocals, with contemporary Western synthesizer-based electronic music, hyperdimensional alien space acoustics, and sound clips from television shows and spoken words. Truly genre-defying, Shpongle contains elements of Jazz, Classical, Dub and Glitch, among others.
Shpongle performs live with different musicians, dancers and other performers, while Posford masterfully controls an electronic sound board, alchemically mixing and remixing the music, engineering, tweaking, and orchestrating the highly textured, multilayered music that emerges. Shpongle’s studio albums include: Are You Shpongled? (1998), Tales of the Inexpressible (2001), Nothing Lasts… But Nothing Is Lost (2005), and Ineffable Mysteries from Shpongleland (2009). Posford also frequently tours as Hallucinogen.
I interviewed Simon on July 26, 2011. Since Simon’s music has served as the soundtrack for numerous personal psychedelic experiences, this was a special interview for me. It was great fun to–as Simon put it–“intellectualize the abstract” and “muse over the ineffable” together. There’s a delightful eloquence to the way that Simon expresses himself, and a vibrant sense of creativity continually comes through his words. We spoke about how his psychedelic journeys have effected his creativity and his experience with music.
David: What inspired your interest in music?
Simon: When I was just growing up there was always music around my house. My parents were very young. My mom was 19 and my dad was 21 when they had me, so there was always music on the stereo, and it obviously caught my ear. I have fond memories of the speakers booming late into the night, in spite of the fact they were playing the likes of Donna Summer, Queen, Elton John, and E.L.O. My grandfather was a composer in the Forties. He wrote for musicals featuring stars of that era such as Bing Crosby and Vera Lynn, but I never knew him, so I don’t know if there’s any genetic link, or even if there’s any validity to that idea. I would say that my interest was probably more just the result being constantly surrounded by music as I was growing up.
David: How did you become involved with creating Shpongle?
Simon: That was when I got together with Raja Ram in 1996. We went to the Glastonbury Festival, which is a huge festival in the U.K. In those days, they got up to around 300,000 people going, because they had a hard time keeping people outside the gates from sneaking in for free. Now it’s more regimented. They’ve got two double fences, and it’s really hard to get in without a ticket, so there’s only around 170,000 people going now. The festival takes place on a huge farm in the rolling hills of Avalon, and right at the top of site they have built a large stone circle, which normally hosts a variety of drummers, druids and lost souls trying to escape the general mayhem and seek some sort of refuge.
I remember clearly, Raj and I were sitting there, watching this Celtic harp player, and I think that we’d both taken some psychedelic substance. I’m not sure what it was, probably acid. We were listening to this beautiful music emanating from this faery goddess and her wooden harp – we were just fascinated by her. We became obsessed with her pulchritude and grace, falling in love with her, lured like Odysseus to the Sirens’ song. She was so exquisitely beautiful – we never even saw her face, we were sat behind her. But she sat so upright, and this music was divine. Raja and I had made only trance music together up to this point, but during that performance we thought it would be really nice to try to capture that particular moment. It wouldn’t have to be dancey, but just something that reproduced the energy of the stone circle, and tribal beauty of the bonfires, the smoke mingling with the mist rolling in through the valley and the honeyed tones of our Celtic muse.
David: What do you think makes Shpongle’s music unique?
Simon: That’s a tricky one for me to answer, because I’m obviously so involved in it. But I would say that what makes anyone’s music unique is that it comes from deep within the soul of the writers. The KLF wrote in their inspirational book, “The Manual”, that two artists could each make a track using only a single kick drum, the same sound, at the same tempo, yet undoubtedly one would STILL be better than the other. You could listen to both tracks and you would surely prefer one over the other. Maybe because no matter what you do, or whatever you write, the musician’s character and soul shines through, and some people you resonate with, and some people you don’t.
David: What inspired the name “Shpongle”?
Simon: The name “Shpongle” came from my partner Raj. One day he had taken some acid, and… (Laughter heard in the background.) My girlfriend is just laughing. (Explaining to girlfriend.) This is for a psychedelic site; it’s for MAPS. I guess all of these drug references are okay? My girlfriend is just laughing at me.
Girlfriend: Cause I’m on acid now!
Simon: She’s on acid now, driving the car. (laughter) – not really, don’t worry. Anyway, Raj was tripping one day, and he said, “Oh Si, I’m feeling really shpongled.” This word was a mixture of a lot of other words that we were using at the time–like “spangled,” “stoned,” “monged,” and “mashed”–and all of these came out as one word: “shpongled.” So I said, that’s a great word, maybe we should use that as a band name or track name–as it captured the essence of the message we were trying to get across, without a tired history of associations and expectations that existing words are weighed down by.
David: That’s so appropriate too, since your music blends so many different styles together. In general, with Shpongle, how would you describe your creative process?
Simon: Raj will turn up, sometimes with a load of samples or recordings. One time he went to Brazil and recorded some stuff there. Otherwise, he’ll record stuff off of TV shows, some spoken words, or bamboo forests creaking in the wind…something like that. So that might spawn an idea for a track.
Raj is a very visual person, and he’s a fabulous painter, so he might come up with a visual image that, in time, I’ll translate into music. Over the years he’s come up with some inspiring imagery, such as a lake shimmering in the sky. Our most recent one was about CERN, the Large Hadron Collider in Switzerland, and about the idea of particles colliding at high velocities, neutrinos protons and neutrons smashing into each other, creating black holes explosions and new universes. Stuff like that.
So we’ll have a visual image. Then, when I can finally get him to shut up, Raj will sit on the sofa and do a thousand drawings into his notebook, while I’ll sit at the computer and get about translating our images into sound. I generally do the programming, playing and production because Raj can’t work the computer or any of the equipment, but he’s the inspiration and the muse, and will play flute or jabber strange vocals into the mic (being the cunning linguist he is). We start with just a blank canvas, an empty computer screen, and just add more and more sounds–until it’s time to go home, I’m either sick of having him in my house, or he’s sick of sitting on my sofa, listening to me torture him with various obnoxious instruments. Then we stop, and later we mix it. Then we give it the acid test. He’ll take some LSD and put the headphones on when I’m ready to mix. Then I’ll play it to him at high volume, and–judging by the state of his eyeballs and his face afterwards–I’ll know whether we’ve got a good one or not. (laughter)
David: I love it! This leads right into my next question, which is– how have
“Your body belongs to you. Play with it.”
with Fakir Musafar
By the age of four; Poland Laomis was regularly dreaming about his past lives; by six he was experiencing psychedelic visions while riding his bicycle; by twelve he was poking his mother’s sewing needles through his skin. By the age of thirteen he had pierced his foreskin in the coal cellar, by fourteen he was experimenting with his newly found psychokinetic powers; and by seventeen he had a full-blown mystical shake-up of the kind recounted by saints, sages, and madmen.
Gradually, the puzzling elements of Roland’s childhood began to slip into place, like the ribs beneath a whalebone corset. This odd and awkward boy from a strict Lutheran family in whitest South Dakota had been born again in the regal personage of Fakir Musafar: Fakir Musafar was a misunderstood shaman in thirteenth-century Persia who entered mystical states through manipulating his body and died of a broken heart after a lifetime of ridicule.
This could also have been the fate of Roland had he remained within the walls of his family cellar; where his experiments began. Instead, Fakir came out, and now, at sixty-three, he has not only been accepted by the tribe but has been granted something of the status of an elder statesman. He is undoubtedly America ‘s master guru of body ritual, offering wisdom and experience in a movement with more than its share of neophytes searching for identity.
Fakir’s role models are Hindu sadhus who sleep on beds of nails, African women with necks elongated by metal rings, and New Guinea tribesmen with belts that reduce their waists to a whisper. It was he who coined the terms “modern primitive, ” and “body play, ” terms that now, thanks to the information revolution, have become almost as familiar as “cyberpunk” or “generation X. ” The modern primitive movement is a tribal concoction of neopagans, lesbians, gays, artists, punks-creative misfits who have taken the term “queer” from the exclusive domain of homosexuality and applied it to all who find themselves trying to squeeze their round pegs into the square nipples of society.
His twenty-seven years as an advertising executive allowed Fakir piercing insight into the power of symbolism, a knowledge he exploits beautifully in his quarterly magazine, BodyPlay. He is also the founder and director of the School for Professional Body Piercing, the first in America.
I interviewed Fakir on October 17, 1992. Sitting in the garden of his suburban bungalow in Menlo Park, California, bespectacled with a button-down haircut, in sports shirt and slacks, Fakir could still be that executive. There is little to suggest what lies beneath, except that poking through his nose is a five-inch porcupine quill. Fakir is a misfit who, unable to find a mold to fit into, simply fashioned one for himself
Rebecca:. What first inspired you to start changing your body state?
Fakir: I always seemed to have that inclination. When I was growing up all the people around me lived under Judeo-Christian principles and rules, and the whole thing was operating under a very hard, patriarchal society. My biggest problem as a child was spacing out and I would literally go into trance states at the drop of a hat. It was very difficult for me because I thought I was going nuts. I would try and stay there but I couldn’t help it, I’d fade away. Bells would ring, I’d have audio and visual hallucinations. I remember riding a tricycle and having wonderful hallucinations like on acid.
I had a particular problem in social situations which still bothers me today. I guess it’s an escape, a coping mechanism. This family was so repressive and dysfunctional that it was natural for me to use this ability to space out, to cope with the boredom and abandonment.
Rebecca: What were you like as a child – apart from spacy? (laughter)
Fakir: I was very much alone, I was very thin, I didn’t do too well with other kids, I didn’t do too well in sports. I couldn’t catch a baseball because I was blind as a bat. But I was also very bright. I devoured books because that was my only escape from this very limited society. I started on Volume A of the best looking encyclopedia. I read the whole thing from cover to cover and then I started on Volume B and so on. When I got through that set of encyclopedias I went to another set and read that one. And I found out that I was really interested in how other cultures lived.
Rebecca: And when you first saw pictures of people with scarification, tattoos and piercings, did you suddenly go, aha! this is it?
Fakir: Oh yeah – instantly the light went on. Very often I could recognize that whatever they said about these people in the photo caption was not what was going on. I could look at them and feel how that person felt at the moment the photograph was taken. It was a mixture of fear, pain, intense sensation, awe, and I thought my God! they’ve got something! And I would secretly try to do these things, the Ibitoe of New Guinea which is the waist reducing belt.
One of the abilities I had when I was young was psychometry. We lived in an area that was heartland for Indians’ last stands and the last survival of Indian culture, so there was a lot of Indian atmosphere. The towny’s would just plow over Indian graves, but I would go out on my bicycle and find Indian campgrounds, burial spaces, places that were blessed and had a charge in them. At a very early age I could touch a tree and get a whole vision of what had happened there. I could take a stone from an Indian burial ground and it would speak to me. I still do this.
Rebecca: And you used to visit the Indians and hang out with them.
Fakir: Yes. They were treated very badly, worse than dogs. I found a kinship because I was a loner. I always felt I was on the edge, on the fringes of society. My search through life has always been to find the disenfranchised, I always had more in common with them. I had a very hard time with the establishment.
Rebecca: What kind of reactions do you get from Native American people to the things you do?
Fakir: I have a lot of friends who are Native Americans. I did some rituals at a place called Rancho Cicada and Hawk (could you describe briefly who Hawk is?) was one of them. He was quite taken with it, we exchanged presents and energies and he participated in some of the ceremony. In general I’ve had nothing but respect and awe from Indians.
Rebecca: You don’t ever come across people who think it’s just another example of the white man encroaching on Indian terrain?
Fakir: In Boston I was on a television program and they had Native Americans on there who were very un-native compared to the ones I grew up with on the Lakota reservations. They had always lived in cities and they were very Catholic or Lutheran. They didn’t seem to have much connection with Indian culture, but I had objections from them that I was ripping off Indian culture and exploiting it.
Rebecca: Going back to your childhood….
Fakir: I was the head of the class in the Lutheran confirmation. I knew all the dogma and all the theories and the doctrine of transubstantiation. We had a very aristocratic pastor who came from New York. He was quite a maverick because he didn’t preach hell and brimstone as much as he did love. He used to think the world of me.
One of my favorite meditation spots was church. I was in the choir and we sat in this separate space in front of the organ which had all of these beautiful vibrations coming out of it. And I had some of the most beautiful fantasies including erotic fantasies in that choir loft.
Rebecca: Was there anyone you could share your true urges and visions with?
Fakir: I couldn’t share what I was doing with anybody at all. It was so way out and bizarre compared to how everything was. In school I was an avid lucid daydreamer. I was near-sighted so I couldn’t see the board, it was so boring and the way they did everything was so rigid. They’d explain something and I’d jump twenty-eight steps before they’d even got to step three with the rest of the kids.
So I’d look out of the window, I’d look at a tree and I’d become sunlight falling on a leaf – I learned how to have visions. Some of them were alarming.
Rebecca: If your environment had been more interesting perhaps you wouldn’t have been encouraged to develop your inner world so much.
Fakir: Yes, that’s true. At home on Sunday afternoons you had to wear your Sunday best which was always very uncomfortable and you had to sit in an upright chair for hours while the family droned on and on about the crops and Aunt Tilly’s tumor – all this neat stuff. (laughter) I would sit in this room and stare at my Uncle Milton and all of a sudden I would start going into a trance state.
All the voices would go vzzzzzzzzz, like turning down the volume control, and everything would start to get dark except for Uncle Milton who’s head would get brighter and brighter. Then it would start to recede until it was a pinhead and then it would come back, but instead of Uncle Milton it would be an old Chinese man and he would be speaking Chinese! I was totally fascinated by this.
Up until I reached puberty I had some
The Pleasure Principle
“Let there be pleasure on earth and let it begin with me.”
with Annie Sprinkle
Annie Sprinkle is mostly known as the porn star/prostitute who became a performance artist/sex guru. She spent many years exploring a multitude of. sexual possibilities in Manhattan’s kinky sex clubs and through her roles in hundreds of hard-core XXX films, where she achieved legendary status and such earned titles as “the queen of Kink, ” “the Mother Teresa of Sex, ” “the Shirley MacLaine of Smut, ” and “the Renaissance Woman of Porn. ” As an exhibitionist who liked to do it all, she posed for every major, minor sex and fetish magazine there is, and she was a “Photo Funny Girl “for National Lampoon for two years. All along Annie has been a very creative individual, but recently she has emerged as what she describes as a “post-porn modernist, ” creating her own eclectic brand of feminist, sexually explicit media. Her latest one-woman show is part autobiography, part parody of the porn industry, part sex education, and part sex-magic ecstasy ritual. It is controversial, powerful, and popular
After twenty-two years of devoting her life to learning and experiencing all she could about sex and doing sex work, Annie has become a unique kind of expert. She has authored three hundred articles on the topic, as well as an autobiographical book entitled Annie Sprinkle: Post-Porn Modernist. She produced and directed several videos, including the lesbian classic The Sluts and Goddesses Video Workshop, or How To Be a Sex Goddess in 101 Easy Steps. She has been invited to teach and lecture at many museums, universities, and holistic: healing centers, including such prestigious institutions as Columbia University, the Museum of Modern Art, the Wise Woman ‘s Center New York University, and the New Museum of Contemporary Art. Some of the topics she ‘s presented are the “Pleasures, Profits, and Politics of Women’s- Sexualities in the ’90s, ” “Sacred Sex Technologies, ” “Cosmic Orgasm Awareness, ” and the “Secrets of Sacred Slutism. ” HBO ran two specials on her work. She ‘s such a “character” that someone has even created a comic-book series about her:
Midway through Annie’s career her views about sexuality changed radically when the AIDS crisis hit and Anni ‘s lover was infected (although Annie never was). Through having to practice totally safe sex, she learned that sex is not just about bodies coming together and the electric embrace of genitalia, but also about the exchange of energy. Consequently, her work merged with the long tradition of achieving health, well-being, and spiritual growth through meditative sexual union. Annie metamorphosed into the more multidimensional incarnation Anya, whose goal is to get a handle on the source of orgasmic energy, and who is inspired by the archetypes of the sacred prostitute and the Goddess.
At present, Annie is half-finished with a feature documentary about orgasm, Orgasm Scrapbook. She is also making a deck of “Pleasure Activist Playing Cards” from photographs of women she has taken over the years, and marketing her own designer dildo, the Sacred Sex Tool. She is experimenting with monogamy, “Zen sex, ” gender play, and training her girlfriend’s dog, Hillary, to give her cunnilingus.
Annie has a big, warm heart and a very sweet spirit. She seems to completely lack any inhibition or guilt regarding sexuality, yet she is actually kind of shy. She ‘s optimistic, funny, sensuous, and she appears to be a genuinely happy person, often hovering, it seems, on the verge of orgasm. Rebecca and / interviewed Annie on November 1, 1992 at her parent’s house in Granada Hills, the Southern California home in which she grew up and where she was visiting at the time. The house was quite ordinary, rather conservative, and nothing gave the slightest hint that this place would have produced an Annie Sprinkle. We conducted the interview in the back yard by the pool. When her mom walked by, Annie whispered “Sh … I don ‘t want her to hear us talking about my sex life. It makes me nervous, ” We interviewed her again in Maul, Hawaii, on July 26, 1993. Just as we began the interview, Annie said that she had to stop because she needed to orgasm. So I switched off the tape recorder; and she went into the other room and turned on her vibrator. She returned five minutes later with a smile on he rface. “Okay, ” she said, “now we can begin. “
David: Annie, how did you become interested you in sex and how did your early development influence your later career choices?
Annie: You’re at Granada Hills, the place where I grew up. This place is very white bred and straight and I wasn’t aware of any sexuality when I was young. The only thing that really turned me on was the swimming pool, but I wasn’t a sensual, sexual child because it was such a great mystery. I feel kind of sad that all that time was wasted. I could really have being enjoying myself. (laughter)
David: Can you see what it was that inspired your interest?
Annie: What clearly inspired my interest was the ignorance and fear. I used to wake up in the morning having to pee. I was having orgasms, I think. The full bladder pressed against my clitoris, or something, so I’ve connected peeing with eroticism a lot. (You know, the clitoris is much bigger now. According to the feminist view, the clitoris is a hugestructure – it’s almost as big as a penis) And then there was a big nothing period in my life. What I was more focused on was menstruation. That was the big, scary thing. All my questions were about that and I didn’t even know about sex. I heard a little bit in the playground at school, but that was it.
Rebecca: So there wasn’t any sex education to speak of?
Annie: There wasn’t, no. There was the egg and the ovum – the biology of sex, but nothing practical at all! When I discovered how great sex was that made me mad. I lost my virginity at seventeen and I thought, “this is great, everyone should know about this. How come nothing is being done about this?” (laughter)
I think that losing my virginity was one of the happiest days of my life up to that point.(laughter) A year later I moved into prostitution and that was another really happy transition for me. When I discovered sex, I thought, “I’ve got to learn more about this, this is the greatest thing.” And that’s really been my focus in life.
Rebecca: Why do you think sex has become so distorted? Do you think it’s just the effect of Christianity or are there other factors?
Annie: I think that had a lot to do with it. And also the idea that sex was dangerous for women and also a source of power. I think when women express their sexual power, it freaks men out a lot. So I think it was suppressed partly because of that. Also there’s disease – it’s a very dangerous thing. (laughter) It’s dangerous on the one hand, and it’s total liberation and freedom and joy and ecstasy on the other.
Rebecca: What do you think are some of the worst social consequences of a culture which denies the body and sexual freedom?
Annie: War, drug abuse, suicide, loneliness, skin diseases, cancers, violence, rape.
Rebecca: Zits.(laughter) So you regard sex as fundamental to a healthy life?
Annie: Yes. And suppressing it makes people crazy. All the fear and ignorance around it is amazing. But then, that’s part of the fun.
Rebecca: Part of the fun? (laughter)
Annie: It’s such a huge subject, you know. It’s really enormous.
Rebecca: It seems that sex was beginning to be viewed with more openness in the sixties. Then AIDS came along and alarm bells went off again with this whole fundamentalist exclusiveness against homosexuality. Do you think AIDS has polarized the issue of sexual freedom so much that there is little hope for constructive understanding between the two sides?
Annie: I think it’s normal. There’s this pendulum of freedom and repression that goes back and forth in relation to sex as well as to many other things. And now, because of AIDS, sex is considered dangerous again. But it’s not going away. Sex cannot be repressed. On the whole it’s spurring everyone on. I always look on the positive side of everything. Of course there are many sides, but there is a lot of great stuff happening in terms of sex. You have more freedom to be gay and lesbian than there ever were before. You go to high school and there are all these little baby dykes.
David: You see that in California quite a bit, but this doesn’t necessarily reflect what’s going on in the rest of the country.
Annie: Well, I have no idea.
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