ONO, Spooks 2a: Travis & test press art

While preparing for the release of Spooks, Travis completed a series of exquisite, detailed ink drawings on the test press labels. He produced two majors “motifs” or themes, and then recreated each scene on 12 test presses (x 2 LP) in vivid detail. The individual pieces feature variations, but the major imagery and storyline is the same across each piece. Travis invokes the Haitian Revolution, and also introduces elements that correspond with his lyrics and poetry that comprise Spooks.

Travis tells it best. Below, please find his story. This is meant as a companion post to be read alongside his artwork, here.


1a. Spooks Test Presses visual counterpart. I did not envision a visual counterpart. On 08SEP15

Moniker proposed: “We ordered (10) test presses for Spooks (double record).  When they arrive,

would you like to create unique art for each one?  We think it would be really cool!“ Given two weeks

to complete 20 labels; I agreed. My intent: Illuminate “The Nigger Queen”/”Spooks” TP, then insert a

recent photo with each. Ultimately, 12 TPs were made available to me TUE 22SEP15 at 2100, with

progress report or request for more time due SUN 27SEP15. To me, that meant, 24 labels must be

done in four days. SUN is ONO rehearsal day, 12:30-5PM. So, I was forced to design the layout while

creating. I worked 21 hours each day on Side B and Side D. Process: Overlays using Paper Mate

Sharpwriter #2, Pigma Micron 005 (0.20mm) and Micron 01 (0.25mm) for 99% of the work. On Sides

A and C, I wanted a mix of my Uncial/Foundational Hand calligraphy and PMichael’s graffiti to scrawl

[Arthur Rimbaud’s] “Nigger Queen” and the word “Spooks” using permanent black markers. However,

by the end of day two my arms ached. Fingertips tingled. Bug-eyes blurry. Day three: I realized I

cannot replace a label if I make a mistake; cannot erase. I would never apply correction fluid! Then, I

lost my mind to self-hate for accepting a five day deadline. (What the hell is a “test press” anyhow?)

Stop thinking! No time to think! Work! as Spooks words assaulted my body (from memory alone).

Suddenly Sunday. No time to decorate the far left panel, or for calligraphy. Now, multi-tasking: Clean

house +Mow front lawn and back garden (0.25 acre) +15min hot bath +Cook and prepare table for

ONO (marinated zucchini w/bow tie pasta & tomatoes. Hot all-beef Polish. Long grain and wild rice.

Fruit. Chariot Gypsy wine. ONO arrives. Rehearsal. PMichael’s TP graffiti. Done! eMail progress

report to Moniker, as promised. Clean kitchen, dining room, living room. Sign and number TP

drawings. Sleep.

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NOTE1: After becoming aware of time constraints, I took on the TP project because of another

backstory: On 04NOV14, ONO performed “Requiem For David Bowie” at the MCA/David Bowie Is

show. While driving myself and PM to the MCA, PM revealed the next ONO LP will be entitled “The

Nigger Queen.” I was completely overcome with joy, as it referenced ONO’s original sonic intent. It

also referenced “Invocation,” which opened every venue on the 2014 ONO tour. “Invocation” ends

with the chant: “I Bring You Greeting Foreseen From The Nigger Queen!” It is PMichael’s anthemic

reworking of “Geechie,” another travis/ONO spit. Virtually every audience howled query-upon-query.

No one remembered Arthur Rimbaud’s “Nigger Queen.” No one remembered Rimbaud’s years

trading slaves, coffee and weapons. No one remembered Rimbaud’s “A Season In Hell.” No one

remembered Rimbaud’s father’s murderous Algerian incursions. Capt. Frédéric Rimbaud, career

soldier in France’s conquest of Algeria, was awarded the Légion d’honneur. After load-in, parking,

accepting vouchers and navigating Security, I returned to find PMichael, Moniker, and ONO in

conference, isolated at two long tables near the east window. This was serious! Discussions: (1)”The

N_____ Queen!” (2)”The N_____ Queen” as the last ONO LP! Apparently the name was

unpronounceable! Like “Death!” 23SEP16 marks my 70th birthday.

NOTE2: I studied with Peter Fraterdeus and the art of drawing the guidelines is, itself, extremely time


NOTE3: I designed calligraphy for End Result/Ward, 12” EP (1985), and for several older ONO

projects, amongst them “Machines That Kill People” and “Kate Cincinnati.” In the 1980s, virtually all

ONO promotional packets were mailed as unique ONO Art entities (for which I sometimes carved

homemade feather quills): Original calligraphy and home-mixed inks for both return address and

recipient’s name, address, etc. Some people framed the 9”x12” (or larger) envelopes. Two, maybe

three, were returned. I kept them.

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Spooks Imagery That Confronts Me: Much of Spooks originated with my attempt to make

sense of my U.S. military experiences from 1963-69. As travisDjPTSD, I have written a couple

hundred pages relative to (a)Drill Instructor Davis’s attempted sodomy (1964) (b)ONI Spec Agent

Munson’s (wrongful) accusations of sodomy (1965-69)

[I can elaborate if you like. Otherwise, please see my Tumblr blog for the bigger picture:

(http://latravisa.tumblr.com). My blog posts a new drawing each day directly related to my

experiences exactly 50 years ago.]

In creating Spooks, PMichael dug up many emotional 1963-69 travisDjPTSD “spooks” from

either my SoundCloud account (https://soundcloud.com/travis_djptsd ) or my AfroPunk account

(http://www.afropunk.com/profile/travistravis230). I did not bring the pages to his attention. I

expressed neither desire for nor objection to their use. Likewise, I offered no input regarding their

meaning. My written volume is well-hid; not visible online. I plan to revisit it in 2016, after this 50th year

traumatic memorial subsides, and I try to imagine Black, male, American life at age 70.

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[NOTE: Below is my answer to IMPOSE Magazine, published [October 9], that may also speak to your

question. Spooks Imagery That Confronts Me continues below the IMPOSE quote:

I. How was everyone’s summer, and what are the post-release plans for this fall/winter?

=(a.)Summer 2015. Trauma! 50yrs since Summer 1965. I was an 18-year-old testosterone-driven

military man (U.S. Navy Communications). GTMO Bay, CUBA (1964-1965). U.S. invaded Dominican

Republic 28APR65. American/Israeli Intelligence Spooks stepped up racial segregation in

DomRep/Haiti. Escalated assassination attempts against leaders in Cuba, Haiti, Kongo; Panama;

Puerto Rico, et al. Civilians murdered and starved under LBJ polices of “Covert Economic Sabotage.”

Not enough holy water for the Colonies! MON 20SEP65, 0800: The worst, deadliest week of my

life began. Ofc of Nav Intel interrogated me (lie detectors, electrodes and other “instruments” attached

to various parts of my body!). Eight interminable hours! ONI Spec Agent Munson Wrongfully Accused

Me Of: SODOMY! Though dominated, wrapped in wires and beaten down, I maintained (truthfully)

that I had NEVER at any point in my 18 years committed “Penetration However Slight!” “SODOMY:

Penetration however slight shall be sufficient to complete the offense.” Munson found NO evidence of

SODOMY. But Munson, pawn of LBJ’s aunt Frank Martin, pursued me, violated me for four years!

Rota, SP; Thessaloniki, GR; Vietnam! By THU night into FRI, 23SEP-24SEP, uncontrollable

hallucination: “I Dream Of SODOMY!” Munson’s persistent, violent verbal torture flayed, surveyed,

grenaded and bathed in blood every penile pressure point, and every offensive fantasy, setting the

benchmark for all future sexual pleasure and pain! My world view changed for the next 50 years.

Myths about Judeo-Christianity, the “Nature” of God, the “Love” of God and God’s “Grace” devolved.

Sex, love, maleness and human emotions mechanize political vanity. Justice; slave state societies;

“The Great Society” of LBJ, JFK and MLK: White, male collisions of power, competitive castration and

separation. In the womb, all “males” begin as “female.” Hypertension blood pressure levels 20SEP65

until now. Isolation. Diffraction. Low self esteem. Self hatred! As a member of Navy Emergency

Ground Defense Force, NEGDeF, I learned to love my GTMO guns: Colt; M1; BAR; Bazooka;

Machine Guns. Machines that kill people. Enter travisDjPTSD!

=(b.)At PMichael’s request, I joined him acting in Heather Lynn’s play “Genesis And Nemesis.” I also

read Samuel R. Delany’s 900pp Dhalgren. Now re-reading Dhalgren. Completed 300 drawings

based in Dhalgren. Creating Noise pieces to accompany Dhalgren drawings. Reading Eugene D.

Genovese’s Roll, Jordan, Roll. Reading specific sections of Adler/VanDoren’s Great Treasury of

Western Thought.

=(c.)”[P]ost-release plans…?” I defer to PMichael, ONO Leader.]

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Spooks Imagery That Confronts Me (continued):

1.Billy The Kid

=====Billy The Kid is used, abused then dies. Repeat. But not recycle.

(Background) Between 1972-76, I wrote hundreds of pieces I labeled performance poetry.

Words that were meant to act out on stages images for which I had no other outlet. “Billy The Kid In

Silver City Apartment 7,” exposed a character, a Kundalini Sikh (akin to 21-year-old warrior Henry

McCarty in significant ways), whose struggles wallowed in my mind. I was in Cleveland, about to

leave for Yogi Bhajan’s 3HO Ashram near Albuquerque, New Mexico (several hours drive from

McCarty’s Chaves County, NM).

Everywhere I went, I was accused of being a “spy.” Why? According to Cooper School of Art

students, Cleveland State Univ. students and Case Western Reserve Univ. “hippies,” the reasons

were obvious: My isolation. My everyday attire. (A couple pictures are attached.) My presumed

independence. My employment history. I worked as a Data Specialist at Goodyear Aerospace

Corporation (Akron), “the world’s largest building without internal supports.” It is a highly

classified/security environment. I also worked as a Data Communications Supervisor at the

U.S.Navy’s Kidd Computer Center/Bratenahl (a gated Cleveland community). The Kidd Computer Ctr

is another high security installation with fences, surveillance cameras, 24/7 security guards. Some

folklorists ranted about the missile bunkers below the Kidd’s parking lot (long gone). Local Rockers

(except Peter Laughner, Cheetah Chrome and Crocus Behemoth (David Thomas)) reasoned that

wearing dresses, (Helene Curtis Patent Leather Black) fingernail polish, makeup (actually acne crème

with silver stars), especially worn daily to the workplace and not get fired, showed a personality so

blatantly deranged, yet coherent and active in poetry readings, performances opening for Pere Ubu

and CWRU arts environments; well, surely I had to be a government spook!

Kundalini Ashram yogi and yogini at the Cleveland Hts 3HO Foundation were highly suspicious.

Sant Ram, the Director, insisted I had some ulterior motive for joining the ashram. In an aggressive

paternalistic voice, he demanded: “Are You Putting Us All On?” My response: “I thought Kundalini

Sikhs were more evolved than the status quo.” I asked Sant Ram what good is self-hypnosis unless I

can expect him, my teacher, to distinguish lies from honesty, and to know me better than I know

myself. I was very clear that I thought Sikhs, and Sant Ram himself, were evolved enough to

distinguish fact from fiction. I was aware of the yoga/3HO groundswell amongst young, White

Christians and Jews, especially women, who felt disenfranchised. Nevertheless, I met only one Black

yogini. Our meeting provided a highly memorable moment for everyone present (at CSU). (I can

relate the subtle, yet highly-charged, details if you like; let me know. It is peripherally relevant at this

juncture. Three long paragraphs.)

Sant Ram assigned another Sikh to “accompany” me on my cross-country drive to my final

destination (3HO Headquarters, New Mexico, where I planned to spend the rest of my life studying

with Harbhajan Singh Khalsa YogiJi). I insisted on travelling alone. Perhaps he was right. I stopped in

Chgo, just to spend the Summer of 1976, and it changed my life. Why did I go it alone? Because I

translated Sant Ram’s decision as deterministic punishment. I needed to grow up. I was allowed to

remain a Kundalini Sikh, but I felt 3HO suspected me of some unnamed misrepresentation. Before I

left our imposing 3HO mansion on E. Overlook Drive/Cleveland Hts., the only other Black sikh, Aletes

Ramas, left for Mystic CT.

The U.S.Navy published my Honorable Discharge 26DEC69. By 1975-76, spy suspicions were the

least of my concerns. Although I remained a Sikh, I spent substantial amounts of time at the

American Kung-Fu Karate Federation Dojo, practicing KunTao. Why? I knew that if I were attacked by

the many, many people in the street who spat at me, or wielded baseball bats when they learned I

was a Vietnam Vet (“Baby Killer! Baby Killer!”), or the (“Punk!”) name-calling local Black males, I

would have to fight for my life. The idea of fighting, then making up, never appealed to me. In KunTao

all movements are designed to Kill, Maim or Mutilate. There are no Defensive poses. Each strike

consumes another entity (cobra, for instance), which temporarily suspends all personalized human

guilt, karma and ethics from the imminent attack. I spent a lot of time practicing KunTao movements

in the swimming pool at the KunTao Dojo, much to the concern of Sant Ram’s Ashram. But then, the

Ashram was only one address for me. The Cleveland YMCA was another address. I rented a room at

the Central Y (Prospect Ave. at 22nd St.) for five unbroken years. (I supervised Univac computers at

the Kidd Computer Center/Bratenahl, OH, about 15 minutes from the Central Y.) My mother’s home

in Akron was another address, but very few people outside the University of Akron (where I double-

majored in Sociology/Psychology), knew my Akron address, and Akronites knew nothing of my

Bratenahl/Cleveland/Cleveland Heights life. I drove a bright yellow 1967 MG(B)-GT, and that only fed

“spy” rumors. I had no girlfriend, no boyfriend, no brother; I travelled alone. So, my writing reflected

internalized environments. At first the performances pieces were long. I performed them at

Cleveland’s Karamu House, The Eastman Reading Gardens, Cleveland State University and Case

Western Reserve University. People accused me of being on drugs, so I split most pieces into self-

contained presentations. Later, I concentrated written images to explore only the linguistic essentials.

“Billy The Kid In Silver City Apartment 7” was the story of a character, forever a “Kid.” ===== (Billy)

has evolved to Kundalini Level 7. Within the “Thousand-Petal Lotus” his consciousness manifests on

many Planes, some feet are visible, others invisible. Billy’s Planes are connected via an e invisible

silver strand. The silver strand is only accessible via Kundalini “Breath Of Fire” performed at specific

high frequency rates. The “consciousness” level depends upon the frequency.” In each Plane,

another ancient “mummy mother” translates another universe. Trans-parent. Trans-World. “.88 dim lit

spaces” is Billy’s only protection from international Intelligence societies, using self-perpetuating

mechanisms, symbolic artificial intelligence and diagnostic robots (like those used for reconnaissance

aircraft aboard USS America, that endlessly fired my imagination). Billy The Kid’s secret societies

monitor, map and mask UHF, SHF, and above. Using his “Haloes,” Billy The Kid shares arrays of

overlapping worlds simultaneously via interplanetary drift. Billy The Kid has choices of “gender” or

none at all. And gender, when/if present, serves the function of sound generation (“Fine misty sweet

air songs”). But the “air songs” are merely camouflage. Otherwise, to quote another piece writ at the

same time: “My world is silent and still.”

As noted below, Modern Images published the piece 37 years ago, in Vol #41, 1978. From 1977-

1980, I read it in places like The Great America Coffee House on Lincoln Ave. PMichael resurrected it

for Spooks.

Billy The Kid © 1977-78

[Formerly “Billy The Kid In Silver City Apartment 7

//Published in Modern Images #41]

Billy The Kid In Silver City Apartment 7

Hot blood dripping dripping passion // Saffron Mythra;

Mistress with many feet

Saffron prayer. Drifting tired.

Legs wide open // Mummy mother welcomes me

Screaming eyes to Ajna // Point the light of Heaven.

Hoofbeats. .88 dim lit spaces // Consecrate my love’s host.

Fine misty sweet air songs // Reveal Haloes of fresh new blood.

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Travis in the Cleveland Scene (1974):
Screen Shot 2015-10-26 at 9.39.45 PM

Travis in Cleveland (1975. Photo by Sandi Block).
Screen Shot 2015-10-26 at 9.40.25 PM

Screen Shot 2015-10-26 at 9.40.40 PM

2.INTQRZ Pt. 1  + 5.INTQRZ Pt. 2  +

=====In the 1960s, international spies enjoyed high visibility. In 1965, Haitian spies assassinated

U.S. spies who were paid to assassinate Duvalier. In May,1965 Israeli spy Eli Cohen was hanged,

despite relentless American wrangling. I left the Caribbean 29NOV65. Eschewing 30 days shore

leave offered by the USN after my successful tour of Hazardous Duty and Isolated Duty, I flew from

NAS GTMO to NAS NorVA; taxi to NavSta Norva, Pier 12, where, that same day, I reported for duty

aboard USS America. The following day, 30NOV65, USS America set sail on her first extended

cruise, 9 months in the Mediterranean. During her second Med Cruise (1967), USS

America/ComCarDiv 6 played a high profile role in MidEast politics. Eli Cohen’s spying resurfaced as

providing a “pivotal intelligence link” in the Six Day War (05JUN67 – 10JUN67). On 08JUN67, after

eight hours of aerial surveillance, Israel attacked the new American Communications/Intelligence ship

USS Liberty, in International waters, her American flag flying, and killed 34, wounded 173. INT QRZ

comes from a series of of sound pieces exploring my emotional state as a Communications

Supervisor and Traffic Checker aboard USS America (CVA-66) during this emotional period; and

especially when we pulled alongside the severely crippled USS Liberty, removed bodies and held

services. Early on, Pres. LBJohnson and Sec. RMcNamara insisted USS America immediately recall,

or divert to Rota, SP, all aircraft USS America had launched to defend USS Liberty! Johnson and

McNamara then forbade Communications personnel to discuss the matter. Communications

personnel who were in theater are not mystified.

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=====From 20SEP65 until 27DEC69, ONI falsely accused me of “Sodomy: Penetration However

Slight Shall Be Sufficient To Complete The Offense….” Snatch picks up in the Mediterranean, after

GTMO. Endless lie detectors; Stevenson, USS America’s new junior Communications officer, added

his interrogation to ONI/Munson’s. Stevenson was joined by Koester. There would be more

bloodletting each year. No hint of sodomy proof was ever uncovered. Self-hate expanded greatly.

High anxiety. Hypertension blood pressure. I have interviewed Black Navy vets who trained at

NavCruitSta GLakes 13 years before I arrived. NavCruitSta was still racially segregated. Although I

met one Black Navy Recruit in GLakes during recruit training (1963), significantly, I do not recall

meeting another Black communicator in RM”A” School (1964) or in GTMO (1964-65), despite Pres.

HSTruman’s Executive Order 9981 of 26JUL48. Before joining the USN, 27DEC63, I had never heard

the term “Spooks” as a reference to Blacks.

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4.Fatima Police

=====There is no Fatima. There is no Sardanapalus. Farewell, Farewell, Thorne Hall!

Fatima Police began as a 1980 early-ONO experiment. It is extracted from an experimental suite

entitled “Woman After Death.” The Events of WAD combined formal processionals, pipe organ heavy

Wagnerian liturgical progressions, screaming overlays of “post-punk” Noise, performance art works

that covered the aisles, the stage and much of the audience in locally collected leaves, and fractured

vocal images of historical figures using provocative language designed to draw the listener into the

logic of the premise. (ONO performances are always rooted in a well-defined premise.) On

16OCT81, ONO performed “Woman After Death” at the closing of NULS’s Thorne Hall, scheduled for

demolition the following week. Thorne was an exquisite Collegiate Gothic auditorium, complete with

stained glass windows, fully functional, but very, very rarely-used pipe organ, and state-of-the-art

proscenium theatre (original curtains!) and film projection equipment; all amenities fully intact but

many years idle. That is, until “Farewell, Farewell, Thorne Hall.” We used everything! Thorne

Auditorium was exquisitely designed and built in 1931 by James Gamble Rogers, and sited on Lake

Shore Drive, between Chicago Ave., and Superior. It was demolished to make way for NULS’s Arthur

Rubloff tower. I was asked to mark the occasion of Thorne Hall’s demolition. I rounded up a cadre of

artists and created the show: “Farewell Farewell Thorne Hall”/”Woman After Death.” Highly

successful production. Two artists detained by Campus Police!

16OCT81       NULS. “Farewell Farewell Thorne Hall.” “Woman After Death.” Art, chants, dance,

vintage film, gossip, sound, music, ritual of lights, ritual of leaves, submission theatre. Organized by

travis/ONO, and funded by NULS. Players: End Result; P.Michael, Shannon, Ric, Kurt, LouAnne,

Ron, Phil and “Company” and travis.

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A couple oblique references:

The Chapel of Apparitions Where Our Lady Of Fatima Appeared To The Children.

”The lady appears as before, but this time the children are given a special grace, a gift that is

horrifying yet good for their souls: they are allowed a vision of hell.

As if to prove that it is the devil that the lady is indeed fighting, she opens her hands when she is

about to depart. But instead of heavenly, mystic light, the children see instead…a sea of fire. In the

fire, Jacinta, Lucia and Francisco can see beings that look like transparent embers, some black or

bronze, but in human form. They are whipped about by the flames that burst out from within them,

enveloped in clouds of black smoke. The children hear great cries of pain and despair and are

terrified. The demons of hell are recognizable by their likeness to loathsome animals, transparent like

the souls of the damned but with hideous, ugly expressions.

The children cry out to the beautiful lady who, as before, is hovering above the holm oak.

“You have seen hell where the souls of poor sinners go,” the lady says, her voice heavy with a

great sadness. “In order to save sinners from falling into hell, God wants to establish in the world

devotion to my Immaculate Heart. If you do what I tell you, many souls will be saved. There will be

peace. The war will end. But if men do not cease offending God, another and more terrible war will

break out… When you see a night lit up by an unknown light, know that it is the sign God gives you

that He about to punish the world for its crimes by means of war, hunger and persecution of the

Church and of the Holy Father, the Pope. In order to prevent this, I shall come to ask for the

consecration of Russia to my Immaculate Heart, and for the Communion of reparation on the First

Saturdays. If not Russia will spread her errors throughout the world, promoting wars and persecution

of the Church….

—From The Day The Sun Danced: The True Story Of Fatima

by Father Robert J. Fox (“For the Children of the World”)

September 9, 1988

Nihil Obstat Msgr. Joseph Pollard, STD, VF  Censor Deputatus

Imprimatur + Most Rev. Roger M. Mahony Archbishop of Los Angeles

[NOTE: The first two appearances of angels are “of a handsome teenage boy with long hair sweeping

back from his face.” (Pictured tall, very fair w/long, blond hair.) Next visits, the angel is described: “the

figure of a young teenage boy, perhaps 16 years old….” (Tall, very fair w/long, blong hair.) He serves

the three Portugese children communion, “the chalice and the Host.” Promises of martyrdom.

Promises of early death. “You will never cover dirt!”

==Wikipedia // Sardanapalus // Diodorus says that Sardanapalus exceeded all previous rulers in

sloth and luxury. He spent his whole life in self-indulgence. He dressed in women’s clothes and wore

make-up. He had many concubines, female and male. He wrote his own epitaph, which stated that

physical gratification is the only purpose of life. His lifestyle caused dissatisfaction within the Assyrian

empire, allowing a conspiracy against him to develop led by “Arbaces”. An alliance of Medes,

Persians and Babylonians challenged the Assyrians. Sardanapalus stirred himself to action and

routed the rebels several times in battle, but failed to crush them. Believing he had defeated the

rebels, Sardanapalus returned to his decadent lifestyle, ordering sacrifices and celebrations. But the

rebels were reinforced by new troops from Bactria. Sardanapalus’s troops were surprised during their

partying, and were routed.

Sardanapalus returned to Nineveh to defend his capital, while his army was placed under the

command of his brother-in-law, who was soon defeated and killed. Having sent his family to safety,

Sardanapalus prepared to hold Nineveh. He managed to withstand a long siege, but eventually heavy

rains caused the Tigris to overflow, leading to the collapse of one of the defensive walls. To avoid

falling into the hand of his enemies, Sardanapalus had a huge funeral pyre created for himself on

which were piled “all his gold, silver and royal apparel”. He had his eunuchs and concubines boxed in

inside the pyre, burning himself and them to death.

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=====The Voodoo Queen Of New Orleans, long before Louisiana became a state. 10SEP1794 –

16JUN1881. Ref: 1791-1804 Haitian Revolution. Haitians in Louisiana territory.

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7.Invocation: The Nigger Queen

=====PMichael’s anthemic rewriting of “Geechie.”

Geechie  © 2014 by travis.djPTSD

I bring you greetings from the prison plantation

Black death Brownsville slumlord Murder, Inc.

You a Geechie get at a Geechie Geechie wench

Geechie inner wife half-time full price

I bring arrest rides from the morgue SouthSide

Missionary spy mongrel bride half-time full price

Flukey Stokes cook/pocketbook redbone Geechie nation

Geechie greetings from the prison plantation

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=====[See IMPOSE Magazine response:

V. Tell us the sort of religious-sci-fi inspirations behind the song and video for “Punks”.

=(a.)Words. I am Native (Chickasaw/Choctaw) and Black in America. Punk Equals Sissy! Nothing to

do with music. Punk is an offensive, deadly term in virtually every community of Color I know. “Boys

who wear ‘women’s’ clothes!” Punks are young Black males used by older Black males as passive

sex objects. Punks are attacked, stigmatized and purged by both Black Judeo-Christians and Black

Muslims because they are aberrations of Biblical “Nature;” lower than murderers. Punks are

murdered daily in Black communities (not always by Blacks). Many Post-Modern Punks find solace

behind Buddhist Gohonzon. The most powerful institutions in Black communities are Religion and


=(b.)Video. A stark, travis “PUNKS” video lacked traditional “action.” Very long neurotic composition

of drawings and pictures. Although PMichael liked it, two or three ONO members screamed “LoTech”

and “NoTech.” I destroyed it, and sulked. At that moment, an ONO fan, Dave Polkinghorne invited me

to bring ONO to an experimental Tesla Coil display. (My images from the previous Tesla display

proved wildly popular on social media.) PMichael agreed. I wrote an open script for specific “scenes.”

ONO brought data collecting devices. Dave and his family fed us. We handed the footage to DaWei,

and he and PMichael assumed complete artistic license to create the extant “PUNKS” video. ]

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“Not Enough Holy Water For The Colonies!” Privilege. “Raw materials, cotton, oil, metal, trees.

Inverted gold mines; not enough poverty!”

“Milk cost more     [apparition]  Black corner store  [apparition]

Breast gone dry    [apparition]  Since the fly-by       [apparition]

I been Saved I been Brave I been Caved I been Grave

Breast gone dry    [apparition]  Since the fly-by       [apparition]”

-Apparition © 2014 by travis.djPTSD [Background vocals from the Spooks Suite]

Capital gains. Inheritance. HooDoo HooDoo HooDoo Zombie!

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11.Cotton Gin

In the 21st century, U.S. Historians (McGraw-Hill, et al.) debate slavery as “immigration!” Severed

ghosts of cultural relativism. Black bodies as ornament.

“All American obedient Zion pygmy. Black arms Black Zion Black fantasy.”

-A.M.E.Zionist © 2014 by travis.djPTSD [Background vocals from the Spooks Suite]

Forty acres and a mule!

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12.Fleur De Lis

=====Instrumental. I defer to PMichael. I’ve not heard it.

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1(b). A/B Side. Spooks/crow. Until the 20th century, Crow, and most indigenous communities

recognized “two spirit” genders such as: masculine men, feminine men; masculine women, feminine

women. Crow/Fearless. Transmitter of oral history. They wore mixed clothing, etc. Some communities

considered “two spirit” persons a natural birth control. Crow/Bearer of alternative perspectives.

Guardian of spiritual crossroads. Papa Legba/Vodoun. Concepts of evil may represent mirror image,

or another aspect, of one God. Spooks/BPP. The LBJ Administration surveilled its members at least

a year before the Black Panther Party was named. “Spooks dupe the color line.” Spooks/plants.

Plants as pharmaceuticals. I am Chickasaw/Black. There were no doctors in Itawamba County where

I was born. All medicinal remedies derived from nature. Amongst her many talents, Marie LaVeau

was also a root doctor. All Spooks plants are medicinal. Amongst my crudely drawn representations

are: “White Snakeroot” (diuretic; venereal disease; smudge used to revive unconscious people).

Yarrow leaf (diarrhea, fever); stem-and-leaf (abortion); leaf-and-flower tea (snakebite). My current

garden features local biota. Spooks/towers. Seven levels. Kundalini. Submerged tower. (Three

additional Chakras are never mentioned; some say there is an inherent physical danger akin to

weightlessness, balance and self destruction). Spooks coiled in the capital gains of humankind.

Spooks/faces. The faces are not meant to represent specific actors in the Haitian Revolution of

1791-1804. At the moment of their creation, the faces indicated (a)Spirit possession. (b)Abandonment

of Haiti after Haiti decisively won the revolution against Napoleon. For the remainder of the 19th

century, 80% of Haiti’s economy was paid to France as reparations! Spooks/water. TransAtlantic

slave trade.Tallahatchie River. Tombigbee River.

My grandmother, Mommie Mae Sarter, loved to drive. We traveled throughout Itawamba Cty,

Monroe Cty/Amory, Aberdeen, and regularly drove to Birmingham. I was 9 years old when 14 year-

old Emmett Till was kidnapped and lynched in Money, MS. His body was found three days later in the

Tallahatchie River, weighted down by a cotton gin fan. Lynchings were commonplace. However,

Mamie Till ensured Emmett’s lynching dared speak its name. Jet Magazine. Pullman Porters

transported papers and pictures. Preachers teaching about black crows and the Soul of Negroes.

Family reunions from the water to the river. Years of reinforcement: How to Witness (through) the

eyes of White people. Survival albeit parenthetical resistance.

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1(c). Politics and Revolution. PMichael “designed” Spooks, start to finish. For me: All Art is political.

Creating Art is a revolutionary act. Eurocentric ideas about Art for Art’s sake are not valid as values in

Black culture. When applied to Blacks, Art is hyper-defined (by unseen “others”), unsustainable

superimposition, at best. It conceals a failure of critical thinking (tribal, spiritual and socio-economic)

by White auctioneers (who manufacture artificial benefits from Forks of the Road, NOLA and

Savannah 03MAR1859) and a slow march away from unifying principles by Black collectors seeking

new forms of academic imprisonment from the ever-expanding “element.” I have no tangible concept

of “Liberty And Justice For All.” Good Black Christians promote slavery in the Middle East. Wealthy

insurance companies, and just about everyone else, profits from gun violence. We blacker than a

brown paper poke! We “temporary forces upon the urban landscape.” We “three fifths of all other

Persons.” We satisfied Passing!

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1(d). The Faces Of Transformation. Traditionally, Black ancestors assumed positions of power.

Their spirits fitted like masks.

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2(c). 1980s > 2015.

The words stem from the same source, path and purpose. For the past 10 years or so, I have

dug deeper into personal regions. Deconstructing behaviors rooted in my transition to Chickasaw,

Black, Male, Mississippi-born-and-raised “manhood” means deciphering ages 17-23, for starters.

1963-69: Sex. Sexuality. Gender consciousness. Race. Personal privacy. Denial. Self-hate.

ONO have enough material for at least two more double-LPs. And, if PMichael wants to play

that card, sufficient Words and Noise for provocative “Punks><Thugs” explorations, as the two Black >Testosterone< sub-cultures (similar to the U.S. military in profound ways), intersect via Hip-Hop,

Fashion, Mega-Churches and Pornography. Note the execs behind the scenes during the

Tupac/Biggie sensations. (Old news, but) Note Chgo home town bejeweled, tattooed HipHop/Rap

star “Thugs” posing in short skirts, high heels, tights, etc., at Paris Fash Wk, NY Fash Wk, and other

pop culture photo ops. Re: Mega-Churches: A long line of subjects, including New Birth MBC and

Bishop Eddie Long. Re: The ubiquitous presence of online Pornography, Porn and Sex Tourism, etc.

WebCams, SmartPhones and Drones. Black Trans-owned porn production companies ft.

barebacking Black thug models “gay for pay.” Kirk Franklin’s well-documented history with

Pornography. LiveJasmin. Home-grown combat zones. This soup, stirred in Snatch, a true story of

personal experience (1965, 1967, 1968) resonates at other points in Spooks despite, possibly

because of, murder rates. “Out of focus, gone forever.” (1981) “Spectres (Spooks) defy the rafters

and we cling to the mighty.” (1982) On my birthday, 23SEP83, ONO opened “The Best Of The Sex

Show” at JOZ, penthouse club at Chgo’s Cabaret Metro named for Owner Joe Shanahan, when, after

a successful run of “The Sex Show,” neighbors accused JOZ (falsely, as the Court later ruled) of

“Pornography” just as “The Best Of The Sex Show” curtain opened. ONO were onstage when CPD

arrived! From my web page:

23SEP83       My birthday. ONO @The “BEST of the Sex Show” JOZ Penthouse. C-A-N-C-E-L-L-

E-D! Show stopped just as house lights went down and ONO took the stage (first band), “44th

Ward Alderman Bernie Hansen called….” “People didn’t like their [JOZ] advertising.”  “… [T]wo

detectives came by to check the licenses….”  “[T]he last night–the dicks came in and closed

the show.” See Chicago Reader “Hot Type/”Art Prevention”  by Neil Tesser, 30SEP83, p.4.


White artists are more likely to re-write Black Art History than Black artists. Slave mentalities often render competitive old guard Black artists color blind. They typically recognize only “High yella” mixed race (whether they are or not); never “Blacker Than A Brown Paper Poke,” unless they affect a [UK] English accent or French (but not Belgian French) speaking voice, family or demeanor just short of career-threatening. Mortgage. Campaign contributions to promote MLK’s fraudulent American “dream.” Similarly, critical thinking escapes established Black collectors, politicians and publishers; in favor of Euro-styled mimicry, White art world benevolence and 501(c) 3 IRS tax exemptions. “You are not quite White.” (Kongo) Collections define high security corporate prisons/fiefdoms, dependent upon a certain dispensable Black “element” now expanding to include all manner of Trans- Blacks.


Conversely, ONO’s writing has expanded to embrace the Black on the bus. I will always be a bastard. I shall never inherit. I have not the luxury of creating from Imagination. I must quickly set up; perform 25 minutes; break down; then clear the stage for the headline act! Without fear of corporate denial, the hard, cold, experience-driven ONO lyrics of 2015 are both more direct and less voluptuous, and vice-versa. Welcome World Wide Web. For instance, historical backstories sometimes simply allude (i.e., Gtmo, Haiti, Dominican Republic, USS Liberty, etc.), allowing listeners to expand individually and leisurely via Wikipedia, Google, Electronic Intifada, the National Historian, thousands of online collections, archives and snake eyes, plus countless other vanities. This allows ONO to construct premises that transmit more personal information with greater detail and fewer words. We engage diegetic values of uttered sound (vibratory values as well) to create new words, unexpected emotions, descriptions and values. Where are America’s Black Vietnam Vet artists? What do they want? ONOmatopoeia Before Music!