Genesis P-Orridge
Genesis Breyer P-Orridge (22 February 1950 – 14 March 2020) was an English singer-songwriter, musician, poet, performance artist, and occultist. They rose to notability as the founder of the COUM Transmissions artistic collective and lead vocalist of seminal industrial band Throbbing Gristle. P-Orridge was also a founding member of Thee Temple ov Psychick Youth occult group, and fronted the experimental band Psychic TV. P-Orridge identified as third gender, and they preferred gender neutral pronouns when being described.[a]
Born in Manchester as Neil Andrew Megson, P-Orridge developed an early interest in art, occultism, and the avant-garde while at Solihull School. After dropping out of studies at the University of Hull, P-Orridge moved into a counter-cultural commune in London and adopted Genesis P-Orridge as a nom-de-guerre. On returning to Hull, P-Orridge founded COUM Transmissions with Cosey Fanni Tutti, and in 1973 P-Orridge relocated to London. COUM's confrontational performance work, dealing with such subjects as sex work, pornography, serial killers, and occultism, represented a concerted attempt to challenge societal norms and attracted the attention of the national press. COUM's 1976 Prostitution show at London's Institute of Contemporary Arts was particularly vilified by tabloids, gaining them the moniker of the "wreckers of civilization." P-Orridge's band, Throbbing Gristle, grew out of COUM, and were active from 1975 to 1981 as pioneers in the industrial music genre. In 1981, P-Orridge co-founded Psychic TV, an experimental band that from 1988 onward came under the increasing influence of acid house.
In 1981, P-Orridge co-founded Thee Temple ov Psychick Youth, an informal occult order influenced by chaos magic and experimental music. P-Orridge was often seen as the group's leader, but rejected that position, and left the group in 1991. Amid the Satanic ritual abuse hysteria, a 1992 Channel 4 documentary accused P-Orridge of sexually abusing children, resulting in a police investigation. P-Orridge was subsequently cleared and Channel 4 retracted their allegation. P-Orridge left the United Kingdom as a result of the incident and settled in New York City. There, P-Orridge married Jacqueline Mary Breyer, later known as Lady Jaye, in 1995, and together they embarked on the Pandrogeny Project, an attempt to unite as a "pandrogyne", or single entity, through the use of surgical body modification to physically resemble one another. P-Orridge continued with this project of body modification after Lady Jaye's 2007 death. Although involved in reunions of both Throbbing Gristle and Psychic TV in the 2000s, P-Orridge retired from music to focus on other artistic mediums in 2009. P-Orridge was credited on over 200 releases.
A controversial figure with an anti-establishment stance, P-Orridge was heavily criticised by the British press and politicians. P-Orridge was cited as an icon within the avant-garde art scene, accrued a cult following, and been given the moniker of the "Godperson of Industrial Music".
Genesis P-Orridge was born Neil Andrew Megson on 22 February 1950 in Victoria Park, Manchester (part of the city of Manchester), to Ronald and Muriel Megson.[4] Ronald was a travelling salesman who had worked in repertory theatre and who played the drums in local jazz and dance bands.[4] Muriel was from Salford and had first met Ronald after he returned to England after being injured with the British Army at the Battle of Dunkirk in 1940.[4] As a child, P-Orridge had a good relationship with their parents, who did not interfere with their artistic interests.[4]
Due to Ronald's job, the family moved to Essex, in the East of England, where P-Orridge attended Staples Road Infant School in Loughton, and for a time lived in a caravan near to Epping Forest while the family house was being completed.[4] The family then moved from Essex to Cheshire, North West England, where P-Orridge attended Gatley Primary School. Passing the 11-plus exam, P-Orridge won a scholarship to attend Stockport Grammar School, doing so between 1961 and 1964.[5]
1964–1968: Solihull School and Worm
After their father gained employment as the Midlands area manager of a cleaning and maintenance business, P-Orridge was sent to the privately run Solihull School in Warwickshire between 1964 and 1968; a period they would refer to as "basically four years of being mentally and physically tortured", but also a time when they developed an interest in art, occultism and the avant-garde.[5] Unpopular with other students, P-Orridge was bullied at the school, finding comfort in the art department at lunch-time and in the evenings.[5] They befriended Ian "Spydeee" Evetts, Barry "Little Baz" Hermon and Paul Wolfson, three fellow students who shared their interest in art, literature and poetry.[5] They regularly discussed books and music, developing an interest in the writings of Aleister Crowley, William S Burroughs, Jack Kerouac and Allen Ginsberg and the music of Frank Zappa, The Fugs and The Velvet Underground.[5] P-Orridge became interested in occultism,[6] and has also asserted that their grandmother was a medium.[7]
In 1967, P-Orridge founded their first collective, Worm, with school friends Pingle Wad (Peter Winstanley), Spydeee Gasmantell (Ian Evetts) and P-Orridge's girlfriend Jane Ray, which was influenced by AMM Music and John Cage's 1961 book Silence: Lectures and Writings.[8] In 1966, Megson, Evetts, Hermon, Wolfson, and Winstanley began production of an underground magazine, entitled Conscience.[9] Forbidden from selling it on school grounds, they sold copies outside the school gates.[10] Included in Conscience were various articles criticising the school's administration, leading to proposed changes regarding such issues as school uniforms and prefects (known as benchers) privileges.[10] That same
year, influenced by newspaper accounts of "Swinging London", P-Orridge organised the first happening at the school, doing so under the auspices of organising a school dance
Brought up in the Anglican denomination of Christianity, P-Orridge became secretary of the school sixth form's Christian Discussion Circle, in this position inviting members of other ideological positions – including a Marxist from the British Communist Party – to speak to the group.[10] Aged 18, P-Orridge began helping to run the local Sunday school classes, but came to reject organised Christianity.[10] Afflicted with asthma throughout childhood, P-Orridge had to take cortisone and prednisone steroids to control the attacks. The latter of these drugs caused their adrenal glands to atrophy as a side-effect, and so the doctor advised P-Orridge to stop taking them. As a result, aged 17 P-Orridge suffered from a serious blackout; while in hospital recovering they decided to devote their life to art and writing.[11]
With Hermon and Wolfson, P-Orridge founded a group called the Knights of the Pentecostal Flame.[12][13] The Knights undertook a happening on 1 June 1968 which they titled Beautiful Litter. Taking place in Mell Square, Solihull, it involved the three students handing out cards to passersby that had a series of words written onto them; "fleece", "rainbow", "silken", "white", "flower" and "dewdrops".[14] Ensuring that the local Solihull News was informed of the event, P-Orridge told reporters that the Knights wanted to ignite "an artistic revolution in Solihull, by making people aware of the life around them, its essential beauty and tranquility."[14] In the summer of 1968, Worm recorded their first and only album, entitled Early Worm, in P-Orridge's parents' attic in Solihull. It was pressed onto vinyl in November at Deroy Sound Services in Manchester, but only one copy was ever produced.[15] A second album, Catching the Bird, was recorded but never pressed.[15]
1968–1969: Hull University and Transmedia Explorations
In September 1968, P-Orridge began studying for a degree in Social Administration and Philosophy at the University of Hull. Hull was chosen in an attempt to study at "the most ordinary non-elitist, working-class, red brick university", but P-Orridge disliked the course and unsuccessfully tried to transfer to study English.[16] With a group of friends, P-Orridge founded a 'free-form' student magazine entitled Worm which waived all editorial control, publishing everything placed into the magazine's pigeonhole, including instructions on how to build a molotov cocktail.[16] Three issues were published between 1968 and 1970 before the Hull Student's Union banned the publication, considering it legally obscene and fearing prosecution.[16] Developing a keen interest in poetry, P-Orridge won the 1969 Hull University Needler Poetry Competition, judged by Compton lecturer Richard Murphy and the poet Philip Larkin, who was then Chief Librarian at the university.[17] P-Orridge became involved in radical student politics through their friendship with Tom Fawthrop, a member of the Radical Student Alliance who had led a student occupation of the university's administrative buildings as a part of the worldwide student protests of 1968.[18] In 1969, P-Orridge attempted to reconstruct the occupation for a film, in the hopes that it would itself become a genuine protest occupation, but this venture failed due to a lack of participants.[18]
In 1969, P-Orridge dropped out of university and moved to London,[19] and joined the Transmedia Explorations commune, who were then living in a large run-down house in Islington Park Street.[18] The group, initiated by the artist David Medalla and initially named the Exploding Galaxy, had been at the forefront of the London hippy scene since 1967, but had partially disbanded after a series of police raids and a damaging court case.[20] Moving into their commune, P-Orridge was particularly influenced by one of the founding members of the group, Gerald Fitzgerald, a kinetic artist, and would recognise Fitzgerald's formative influence in P-Orridge's later work.[21] The commune members adhered to a strict regime with the intention of deconditioning its members out of their routines and conventional behaviour; they were forbidden from sleeping in the same place on consecutive nights, food was cooked at irregular times of the day and all clothing was kept in a communal chest, with its members wearing something different on each day.[22] P-Orridge stayed there for three months, until late October 1969. They left after becoming angered that the commune's leaders were given more rights than the other members and believing that the group ignored the counter-cultural use of music, something he took a great interest in.[23] Julie Wilson later stated that although P-Orridge's time at the Transmedia Explorations commune had been brief, "the experiences he had there proved to be seminal" to their artistic development.[24]
COUM Transmissions
1969–1970: Founding COUM Transmissions
Leaving London, P-Orridge hitch-hiked across Britain before settling down in the Megson family's new home in Shrewsbury.[25] Here, they volunteered as an office clerk in Ronald Megson's new business.[25] On one family trip to Wales, P-Orridge was sitting in the back of the car, then "became disembodied and heard voices and saw the COUM symbol and heard the words 'COUM Transmissions'".[25] Returning home that evening, P-Orridge filled three notebooks with artistic thoughts and ideas, influenced by the time spent at Transmedia Explorations.[25]
In December 1969, P-Orridge returned to Hull to meet up with friend John Shappero, who partnered with P-Orridge to turn COUM Transmissions into an avant-garde artistic and musical troupe. They initially debated as to how to define "COUM", later deciding that like the name "dada" it should remain open to interpretation.[27] P-Orridge designed a logo for the group, consisting of a semi-erect penis formed out of the word COUM with a drip of semen coming out of the end, while the motto "Your Local Dirty Banned" (a pun on "band") was emblazoned underneath.[27] Another logo designed by P-Orridge consisted of a hand-drawn seal accompanied by the statement "COUM guarantee disappointment"; from their early foundation, the group made use of wordplay in their artworks and adverts.[27]
COUM's earliest public events were impromptu musical gigs performed at various pubs around Hull; titles for these events included Thee Fabulous Mutations, Space Between the Violins, Dead Violins and Degradation, and Clockwork Hot Spoiled Acid Test.[27] The latter combined the names of Anthony Burgess' dystopian science-fiction novel A Clockwork Orange (1962) with Tom Wolfe's The Electric Kool-Aid Acid Test (1968), a work of literary journalism devoted to the Merry Pranksters, a US communal counter-cultural group who advocated the use of psychedelic drugs.[27] COUM's music was anarchic and improvised, making use of such instruments as broken violins, prepared pianos, guitars, bongos and talking drums. As time went on, they added further theatrics to their performances, in one instance making the audience crawl through a polythene tunnel to enter the venue.[28]
In December 1969, P-Orridge and Shapiro moved out of their flat and into a former fruit warehouse in Hull's docking area, overlooking the Humber.[29] Named the Ho-Ho Funhouse by P-Orridge, the warehouse became the communal home to an assortment of counter-cultural figures, including artists, musicians, fashion designers and underground magazine producers.[29] At Christmas 1969, a woman named Christine Carol Newby moved into the Funhouse after being thrown out of her home by her father. Having earlier befriended them at an acid test party, Newby became P-Orridge's roommate at the Funhouse, first taking the name Cosmosis, but latterly adopting the stage name Cosey Fanni Tutti after the title of Amadeus Mozart's 1790 opera Così fan tutte.[30] Joining COUM, Tutti initially helped in building props and designing costumes, and was there when the group began changing its focus from music to performance art and more theatrical happenings; shortly after Evetts, after being expelled from Solihull School joined COUM.[28] The three of them lived in a derelict Georgian warehouse in Prince Street, Hull.[28] An example performance involved the group turning up to play a gig but intentionally not bringing any instruments, something P-Orridge considered "much more theatrical, farcical and light-hearted" than their earlier performances.[28]
1971–1973: Activities in Hull
On 5 January 1971, P-Orridge underwent a legal name change to Genesis P-Orridge by deed poll, combining the adopted nickname Genesis with an altered spelling of porridge, the foodstuff which they had lived off as a student. The new name was intentionally un-glamorous, and they hoped that it would trigger a personal "genius factor".[31] In February, COUM caught the attention of the Yorkshire Post, which featured an article on them that led to further media attention from national newspapers.[31] They also featured in an article in Torch, the publication of the University of Hull's student union, entitled "God Sucks Mary's Hairy Nipple"; the article's author, Haydn Robb, subsequently joined COUM,[32] as did maths lecturer Tim Poston.[33] In April 1971, COUM broadcast their first live radio session, for the On Cue programme for Radio Humberside.[34] Following up the press attention they received, they performed further happenings, including their first street action, Absolute Everywhere, which brought problems with the police.[34]
After performing another set, Riot Control, at Hull's Gondola Club, the premises was raided by police and closed soon after; most local clubs blamed COUM and unofficially banned them. COUM drew up a petition to gain support for the group, attaining a booking at the local Brickhouse; their first performance in which the audience applauded and called for an encore. The petition had contained their phallic logo, and the police charged P-Orridge and Nobb with publishing an obscene advert, although the charges were later dropped.[35] As they gained coverage in the music press, interest in the band grew, and they supported Hawkwind at St. George's Hall in Bradford in October 1971, where they performed a piece called Edna and the Great Surfers, where they led the crowd in shouting "Off, Off, Off".[35] The following month, the band attracted the interest of music journalist John Peel, who publicly remarked that "[s]ome might say that Coum were madmen but constant exposure to mankind forces me to believe that we need more madmen like them."[36]
Gaining an Experimental Arts Grant from the publicly funded Yorkshire Arts Association,[37] COUM described themselves as performance artists, being inspired by the Dadaists and emphasising the amateur quality of their work.[38] They entered the National Rock/Folk Contest at Hull's New Grange Club with a set titled This Machine Kills Music,[39] and organised events for Hull City Council's celebrations to mark the UK's entry into the European Economic Community in 1973.[40] They had also worked on solo projects, generating controversy in the local press over a conceptual artwork the artist entered at a local exhibition.[40] Taking an increasing interest in infantilism, P-Orridge founded the fictitious L'ecole de l'art infantile and co-organised the "Baby's Coumpetition" [sic] at Oxford University's 1973 May Festival, also producing material as the fictitious Ministry of Antisocial Insecurity, a parody of the Ministry of Social Security.[41] Meanwhile, P-Orridge created the character of Alien Brain, and in July 1972 performed the World Premiere of The Alien Brain[clarification needed] at Hull Arts Centre.[42] COUM also began publishing books; in 1972, they brought out the first volume of The Million and One Names of COUM, part of a proposed project to release 1001 slogans (such as "A thousand and one ways to COUM" and "COUM are Fab and Kinky"),[43] while in 1973 P-Orridge published Copyright Breeches, which explored an ongoing personal fascination with the copyright symbol and its implications for art and society.[44]
1973–1975: London and growing fame
Following continual police harassment, P-Orridge and Tutti relocated to London, moving into a squat and obtaining a basement studio in Hackney which they named the "Death Factory".[45] After a brief correspondence, P-Orridge met American novelist and poet William S. Burroughs.[46][47] Brion Gysin would become a major influence upon P-Orridge's ideas and works and was the latter's primary tutor in spiritual magic.[48] 1973 saw COUM take part in the Fluxshoe retrospective that toured Britain exhibiting the work of the Fluxus artists; it was organised by David Mayor, who befriended P-Orridge.[49] At that year's Edinburgh Festival, P-Orridge undertook a Marcel Duchamp-inspired performance art piece, Art Vandals, at the Richard Demarco Gallery, engaging guests in unconventional conversation, and spilling their food and drink on the floor. Exhibiting alongside the Viennese Actionists, P-Orridge came under increasing influence from these Austrian performance artists, adopting their emphasis on using shock tactics to combat conventional morality.[50] P-Orrdige's first film, Wundatrek Tours, was released in September 1973, and documented a day out to Brighton. Throughout the year the artist sent personally designed postcards to mail-art shows across the world.[51]
In January 1974, COUM returned their attention to music, collaborating with the Canadian artist Clive Robertson to produce Marcel Duchamp's Next Work, which they premiered at an arts festival in the Zwarte Zaal in Ghent, Belgium.[53] COUM's next major work was Couming of Age, performed in March 1974 at the Oval House in Kennington, South London.[54] After the show, they were approached by an audience member, Peter Christopherson, who shared many of their interests; P-Orridge and Tutti nicknamed him "Sleazy" because of the former's particular interest in the sexual aspects of COUM's work.[54] Christopherson began to aid them using their skills as a photographer and graphic designer, and would first perform with them in their March 1975 work Couming of Youth.[55] In May 1974, COUM issued a manifesto published on an A3 double-sided sheet titled Decoumpositions and Events.[56]
In April 1974 the Arts Council of Great Britain gave COUM the first half of a £1,500 grant.[52] The money stabilised the group, which now included P-Orridge and Tutti as directors, John Gunni Busck as technical director, and Lelli Maull as musical director.[52] During that year, they made use of various artist-run venues in London, most notably the Art Meeting Place (AMP) in Covent Garden, where they regularly performed during 1974.[57] A number of these works entailed P-Orridge and Tutti exploring the gender balance, including concepts of gender confusion.[58] In one performance at the AWB, which was titled Filth, P-Orridge and Tutti performed sexual acts using a double-ended dildo.[57] COUM were frustrated with the restrictions imposed on them by the Arts Council as a prerequisite for receiving funding; rather than performing at Council-accredited venues, they wanted to perform more spontaneously.[59] In August 1974 they carried out a spontaneous unauthorised piece of performance art in Brook Green, Hammersmith; during the performance, police arrived and put a stop to the event, deeming it obscene.[60]
In September 1974, COUM were invited to attend the Stadfest in Rottweil, West Germany, and they proceeded with a travel grant from the British Council.[61] There, they published two performance art actions in the street, earning them praise from Bridget Riley and Ernst Jandl, both of whom were present.[62] The acclaim that COUM received at Rottweil established the group's reputation as "one of the most innovative performance art groups then on the London art scene", convincing the Arts Council and British Council to take them more seriously and offer them greater support.[63]
In February 1975, P-Orridge gained their first full-time job, working as an assistant editor at St. James' Press, in which they helped to compile the Contemporary Artists reference book. The work meant that he had less time to devote to COUM but gained a wide range of contacts in the art world.[65] During that year, COUM embarked on a series of five performance pieces which it termed Omissions; these were performed across Europe.[66] In March 1975, COUM performed Couming of Youth at the Melkweg in Amsterdam. Adopting a more violent stance than their previous work – in this reflecting an influence from the Viennese Actionists – the performance involved self-mutilation, Cosey inserting lighted candles into her vagina, P-Orridge being crucified and whipped, and P-Orridge and Cosey having sexual intercourse.[67] At Southampton's Nuffield Festival in July 1975, COUM performed Studio of Lust, where P-Orridge publicly masturbated and all of the members undressed and adopted sexual poses.[68]
Establishing Throbbing Gristle and the Prostitution show: 1975–1976
COUM were introduced to Chris Carter in the summer of 1975 through their mutual friend John Lacey. Lacey believed that Carter would be interested in COUM as a result of his particular interest in the experimental use of light and sound.[69] Together, Carter, Christopherson, Cosey and P-Orridge founded a musical band, Throbbing Gristle, on 3 September 1975; they had deliberately chosen that date for it was the 36th anniversary of the United Kingdom joining the Second World War.[70] The term "throbbing gristle" was deliberately chosen for it was a Yorkshire slang term for an erect penis.[70] Throbbing Gristle, or TG as it was widely known, was aimed at a wider audience than COUM, thereby aiming to work within popular culture rather than the elite realm of the art scene.[71] COUM and TG were largely treated as distinct entities; the music press ignored COUM and saw TG as experimental art rock, while the arts press ignored TG, viewing COUM as performance artists.[71] Despite their intention of operating within the realms of popular culture, TG never had chart success, and remained a cult band; their audience was however far larger than COUM.
COUM continued to operate alongside TG, and in October 1975 they performed Jusquà la balle crystal at the Ninth Paris Biennale at the Musée d'art modern. The prestige of being invited to such an event led to the Arts Council awarding them a grant for £1,600, although only the first half of this was ever paid out.[74] COUM's mail art had taken on an increasingly pornographic dimension, and in November 1975 the police charged P-Orridge with distributing obscene material via in the postal system under the 1953 Post Office Act; this trial was set for February 1976.[75] They were prosecuted in 1975 for making collages combining postcards of Queen Elizabeth with soft-core porn, but the jail term and fines were suspended on condition they did not continue.[76]
Their Prostitution show, in 1976 at the Institute of Contemporary Arts (ICA) in London, included displays of Tutti's pornographic images from magazines as well as erotic nude photographs;[77] the show featured a stripper, used tampons in glass,[77] and transvestite guards. Prostitutes, punks, and people in costumes were among those hired to mingle with the gallery audience. The show caused debate in Parliament about the public funding of such events. In the House of Commons, Scottish Conservative MP Sir Nicholas Fairbairn demanded an explanation from Arts Minister Harold Lever and proclaimed P-Orridge and Tutti as "wreckers of civilisation".[78] Fleet Street was not slow to pick up the story. The reviews were cut up, framed, and put on display for the remainder of the exhibition.[77] This was also reported in newspapers, so cut-ups about the cut-ups were also put on display.[77] COUM was found so offensive that it lost its government grant,[79] and went on to become the private company Industrial Records.[80] Toward the end of COUM, performances would often consist of only P-Orridge, Cosey and Sleazy, the core group who went on to form Throbbing Gristle.[81]
Throbbing Gristle
Throbbing Gristle was formed in the autumn of 1975[83] as a four-piece band, consisting of P-Orridge, Cosey Fanni Tutti, Peter "Sleazy" Christopherson and Chris Carter.[83] The name "Throbbing Gristle" was adopted after a Northern English slang term for an erect penis.[84] P-Orridge's involvement in Throbbing Gristle led to the artist being regularly cited as the "Godfather of Industrial Music",[85] or in some later sources, "godparent".[86]
The first Throbbing Gristle performance was held at the Air Gallery in London in July 1976.[80] At that point, Throbbing Gristle's headquarters was located at 10 Martello Street, Hackney, East London, the address of an artist collective. P-Orridge and Tutti's living and work space was the mailing address of Industrial Records (IR). Throbbing Gristle released "Discipline" in 1980.[87] TG came to be identified as the founders of industrial music,[88] although at the same time the academic Drew Daniel asserted that as a result of its eclecticism, their music resists clear analysis.[89]
Throbbing Gristle's best-selling single was "Zyklon B Zombie" (1978), the title being a reference to the Zyklon B poison gas used at Auschwitz extermination camp.[90] With their album 20 Jazz Funk Greats they attempted to move away from their industrial sound, and produced songs in a variety of different musical genres.[88] P-Orridge received a number of threatening phone calls, proceeding to record them and use them as a backing track for the TG song "Death Threats".[91]
The final IR release was called Nothing Here Now But the Recordings, a best-of album taken from the archives of William S. Burroughs, who provided P-Orridge and Christopherson with access to his reel-to-reel tape archive.[92]
The final Throbbing Gristle live event, Mission of Dead Souls, occurred in May 1981 at the Kezar Pavilion in San Francisco, US.[93] Shortly after the San Francisco event, P-Orridge and Paula P-Orridge (née Alaura O'Dell) were married.[94]
During this period, P-Orridge befriended an English musician named David Bunting; P-Orridge already knew another man named David, so coined the moniker David Tibet,[95] which Bunting adopted as a stage name. Through an introduction provided by Burroughs, P-Orridge met Brion Gysin in Paris, probably in 1980, coming to be deeply influenced by Gysin's cut-up method; P-Orridge understood this to be a revolutionary method of escaping current patterns of thought and developing something new.[96]
Psychic TV and Thee Temple Ov Psychic Youth
Following the break-up of Throbbing Gristle, in 1981 P-Orridge founded a band with Peter Christopherson and Alex Fergusson that they named Psychic TV.[97] Involved in video art, they also performed psychedelic, punk, electronic and experimental music.[98] The decision to name the band "Psychic TV" stemmed from P-Orridge's belief that while mainstream television was a form of mass indoctrination and mind control, it could be used as an "esoterrorist" form of magick to combat the establishment's control.[99] Historian Dave Evans described Psychic TV as "a band dedicated to musical eclecticism and magical experiment, their performances being in part ritual (ab)use of sound samples, the creation of 'auditory magical sigils' and the destruction of consensus language in order to find meaning".[84]
The band's first song, "Just Drifting", was based on a poem by P-Orridge.[100] For their first album, Force the Hand of Chance (1982), P-Orridge used a kangling, or Tibetan trumpet made out of a human thigh-bone; the instrument had been introduced to P-Orridge by David Tibet, and attracted attention to their music.[99] P-Orridge had become acquainted with Anton LaVey, founder of the Church of Satan and ideologue of LaVeyan Satanism,[101] with LaVey making an appearance on the Psychic TV song "Joy", in which he recites the Lord's Prayer backwards.[85] From 1988, the band came under the increasing influence of the acid house genre of dance music,[85] and were responsible for helping the popularisation of acid house music in Europe.[102]
Psychic TV made its debut in 1982 at an event organised by P-Orridge, David Dawson, and Roger Ely, called The Final Academy. It was a 4-day multimedia celebratory rally held in Manchester and at the Ritzy Cinema in Brixton, South London. It brought performers and audience together with literature, performance, film and music. PTV, Cabaret Voltaire, 23 Skidoo, Z'EV, John Giorno, William S. Burroughs, Brion Gysin, Terry Wilson, Jeff Nuttall, and The Last Few Days participated to honour the cut-up techniques and theories of William S. Burroughs, Ian Sommerville, Antony Balch and Gysin. Video projection and early sampling were used here, as well as whispered utterances by P-Orridge reprocessed as a soundtrack to Gysin's Dreammachine by the Hafler Trio.[103] In the mid-eighties, Psychic TV aimed to release a live album on the 23rd of each month for 23 months[98] in recognition of the 23 enigma. The group didn't reach its goal but still managed fourteen albums in eighteen months, thus earning them an entry in the Guinness Book of World Records.[98] Following the culmination of Psychic TV but before embarking on Thee Majesty, P-Orridge and several Psychic TV musicians formed Splinter Test, a name adopted from one of P-Orridge's essays on sampling.[104]
In 1981,[102] P-Orridge also founded a loosely organised network of occultists named Thee Temple ov Psychick Youth (TOPY), with the aid of John Balance, Tibet, and a number of members of the Process Church of the Final Judgement, a group which had exerted an influence on P-Orridge's occult thought.[97][105] TOPY was conceived not as an occult order of teaching, but a forum to facilitate discussions on occult ideas by like-minded people, and from its beginnings was understood by its founders to be a successor to the late 19th and early 20th century Ordo Templi Orientis (OTO), especially as the latter had been run under Crowley's leadership.[106] Evans described TOPY as "a 'fusion' organisation, creating a crossover of punk/experimental music with chaos magical thinking and practice", making particular use of the sigilisation practices of occult artist Austin Osman Spare.[107] Journalist Gavin Baddeley described TOPY as "perhaps the most influential new occult order of the 1980s".[102] P-Orridge had never wanted to be seen as the leader of an occult order, although many of those involved in TOPY were frustrated that outsiders regularly described P-Orridge as the group's leader. Accordingly, P-Orridge separated from TOPY in 1991, although it continued as a fan community after the departure
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