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(http://arthurmagdotcom.files.wordpress.com/2007/12/burroughsjimmypage.jpg)
RockMagic:JimmyPage,LedZeppelin,AndasearchfortheelusiveStairwaytoHeaven
(http://www.geocities.com/thoea2004/)byWilliamBurroughs,CrawdaddyMagazine,June
1975.
WhenIwasfirstaskedtowriteanarticleontheLedZeppelingroup,tobebasedonattending
aconcertandtalkingwithJimmyPage,IwasnotsureIcoulddoit,notbeingsufficiently
knowledgeableaboutmusictoattemptanythinginthewayofmusicalcriticismoreven
evaluation.IdecidedsimplytoattendtheconcertandtalkwithJimmyPageandletthearticle
develop.Ifyouconsideranysetofdatawithoutapreconceivedviewpoint,thenaviewpoint
willemergefromthedata.
Myfirstimpressionwasoftheaudience.Aswestreamedthroughonesecuritylineafter
anotherariverofyouthlookingcuriouslylikeasingleorganism:onewellbehavedclean
lookingmiddleclasskid.Thesecurityguardsseemedtobecoolandwelltrained,ushering
gatecrashersoutwithaminimumoffuss.Wewerechanneledsmoothlyintoourseatsinthe
thirteenthrow.Overarelaxeddinnerbeforetheconcert,aCrawdaddycompanionhadsaidhe
hadafeelingthatsomethingbadcouldhappenatthisconcert.Ipointedoutthatitalwayscan
whenyougetthatmanypeopletogetherlikebullfightswhereyoubuyastrawhatatthedoor
toprotectyoufrombottlesandothermissiles.IwasdisplacingpossibledangertoaMexican
bordertownwherethematadorbarelyescapedwithhislifeandseveralspectatorswerekilled.
Itsknownasclearingthepath.
Sotherewesat,Ideclineearplugs;IamusedtolouddrumandhornmusicfromMorocco,and
italwayshas,ifskillfullyperformed,anexhilaratingandenergizingeffectonme.Asthe
performancegotunderwayIexperiencedthismusicalexhilaration,whichwasallthemore
pleasantforbeingeasilycontrolled,andIknewthenthatnothingbadwasgoingtohappen.
Thiswasasafeandfriendlyareabutatthesametimehighlycharged.Therewasapalpable
interchangeofenergybetweentheperformersandtheaudiencewhichwasneverfranticor
jagged.Thespecialeffectswerehandledwellandnotoverdone.
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Afewspecialeffectsaremuchbetterthantoomany.Icanseethelaserbeamscuttingdryice
smoke,whichdrewanappreciativecheerfromtheaudience.JimmyPagesnumberwiththe
brokenguitarstringscameacrosswitharealimpact,asdidJohnBonhamsdrumsoloandthe
lyricsdeliveredwithunfailingvitalitybyRobertPlant.Theperformersweredoingtheirbest,
anditwasverygood.Thelastnumber,StairwaytoHeaven,wheretheaudiencelitmatches
andtherewasascatteringofsparklershereandthere,foundtheaudiencewellbehavedand
joyous,creatingtheatmosphereofahighschoolChristmasplay.Allinallagoodshow;neither
lownorinsipid.Leavingtheconcerthallwaslikegettingoffajetplane.
Isummarizedmyimpressionsaftertheconcertinafewnotestoserveasabasisformytalk
withJimmyPage.Theessentialingredientforanysuccessfulrockgroupisenergytheability
togiveoutenergy,toreceiveenergyfromtheaudienceandtogiveitbacktotheaudience.A
rockconcertisinfactariteinvolvingtheevocationandtransmutationofenergy.Rockstars
maybecomparedtopriests,athemethatwastreatedinPeterWatkinsfilmPrivilege.Inthat
filmarockstarwasmanipulatedbyreactionaryforcestosetupastatereligion;thisscenario
seemsunlikely,Ithinkarockgroupsingingpoliticalsloganswouldleaveitsaudienceatthe
door.
TheLedZeppelinshowdependsheavilyonvolume,repetitionanddrums.Itbearssome
resemblancetothetrancemusicfoundinMorocco,whichismagicalinoriginandpurpose
thatis,concernedwiththeevocationandcontrolofspiritualforces.InMorocco,musiciansare
alsomagicians.Gnaouamusicisusedtodriveoutevilspirits.ThemusicofJoujoukaevokes
theGodPan,PanGodofPanic,representingtherealmagicalforcesthatsweepawaythe
spurious.Itistoberememberedthattheoriginofalltheartsmusic,paintingandwritingis
magicalandevocative;andthatmagicisalwaysusedtoobtainsomedefiniteresult.IntheLed
Zeppelinconcert,theresultaimedatwouldseemtobethecreationofenergyintheperformers
andintheaudience.Forsuchmagictosucceed,itmusttapthesourcesofmagicalenergy,and
thiscanbedangerous.
THEINTERVIEW
IfeltthattheseconsiderationscouldformthebasisofmytalkwithJimmyPage,whichIhoped
wouldnottaketheformofaninterview.ThereissomethingjustbasicallyWRONGaboutthe
wholeinterviewformat.Someonesticksamikeinyourfaceandsays,Mr.Page,wouldyou
caretotalkaboutyourinterestinoccultpractices?Wouldyoudescribeyourselfasabelieverin
thissortofthing?Evenanintelligentmikeinthefacequestiontendstoevokeaguarded
mikeinthefaceanswer.AssoonasJimmyPagewalkedintomyloftdowntown,Isawthatit
wasntgoingtobethatway.
Westartedtalkingoveracupofteaandfoundwehavefriendsincommon:therealestate
agentwhonegotiatedJimmyPagespurchaseoftheAleisterCrowleyhouseonLochNess;
JohnMichel,theflyingsaucerandpyramidexpert;DonaldCamel,whoworkedon
Performance;KennethAnger,andtheJaggers,MickandChris.Thesubjectofmagiccameup
inconnectionwithAleisterCrowleyandKennethAngersfilmLuciferRising,forwhich
JimmyPagedidthesoundtrack.
Sincethewordmagictendstocauseconfusedthinking,IwouldliketosayexactlywhatI
meanbymagicandthemagicalinterpretationofsocalledreality.Theunderlying
assumptionofmagicistheassertionofwillastheprimarymovingforceinthisuniversethe
deepconvictionthatnothinghappensunlesssomebodyorsomebeingwillsittohappen.To
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methishasalwaysseemedselfevident.Achairdoesnotmoveunlesssomeonemovesit.
Neitherdoesyourphysicalbody,whichiscomposedofmuchthesamematerials,moveunless
youwillittomove.Walkingacrosstherooomisamagicaloperation.Fromtheviewpointof
magic,nodeath,noillness,nomisfortune,accident,warorriotisaccidental.Thereareno
accidentsintheworldofmagic.Andwillisanotherwordforanimateenergy.Rockstarsare
jugglingfissionablematerialthatcouldblowupatanytimeThesoccerscoresarecomingin
fromtheCapitalonemustpretendaninterest,drawledthedandifiedCommandante,safein
thepagesofmybook;andasanotherrockstarsaidtome,YOUsitonyourasswritingI
couldbetorntopiecesbymyfans,likeOrpheus.
IfoundJimmyPageequallyawareoftherisksinvolvedinhandlingthefissionablematerialof
themassunconcious.ItookonavalenceIlearnedyearsagofromtwoLifeTimereporters
onekeepstellingyouthesehorrificstories:NowoldBurnswasdraggedoutofthetruckand
skinnedalivebythemob,andwhenwegottherewiththecamerasthebloodythingwasstill
squirmingtherelikeawormwhiletheotherhalfoftheteamissnappingpicturesCLICK
CLICKCLICKtorecordyourreactionssooverdinneratMexicanGardensItoldJimmythe
storyofthebigsoccerriotinLima,Peruin1964.
WeareusheredintothearenaasVIPs,inthestylemadefamousbyTriumphoftheWill.
Martialmusiclongvistasthestatuesquepolicewiththeirdogsonleadsthecrowdsurgingin
asultrymenacingelectricitypalpableintheairgreycloudsoverLimapeopleglanceup
uneasilythelasttimeitrainedinLimawastheyearofthegreatearthquake,whenwhole
townswereswallowedbylandslides.Acopisbeatingandkickingsomeoneasheshoveshim
backtowardstheexit.Ohluckyman.Thedogsgrowlominously.Thegameistense.Tieduntil
theendofthelastquarter,andthenthestunningdecision:agoalthatwouldhavewonthe
gameforPeruisdisqualifiedbytheUruguayanreferee.Ahowlofragefromthecrowd,and
thenahugeblackknownasLaBomba,whohasstartedthreeprevioussoccerriotsandalready
hastwentythreenotchesonhisbomb,vaultsdownintothearena.AwaveoffansfollowsThe
BombtheUruguayanrefereescramblesoffwiththeagilityofaratoranevilspiritthepolice
releaseteargasandunleashtheirsnarlingdogs,hystericalwithfearandrageandmaddened
bytheteargas.Andthenasoundlikefallingmountains,asafewdropsofrainbegintofall.
Yes,Ivethoughtaboutthat.Weallhave.Theimportantthingismaintainabalance.Thekids
cometogetfaroutwiththemusic.Itsourjobtoseetheyhaveagoodtimeandnotrouble.
AndremembertherockgroupcalledStorm?PlayingadancehallinSwitzerlandfireexits
lockedthirtysevenpeopledeadincludingalltheperformers.Nowanyperformerwhohas
neverthoughtaboutfireandpanicjustdoesntthink.Thebestwaytokeepsomethingbad
fromhappeningistoseeitaheadoftime,andyoucantseeitifyourefusetofacethe
possibility.Thebadvibesinthatdancehallmusthavebeenreallyheavy.Iftheperformershad
beensensitiveandalert,theywouldhavecheckedtobesuretheexitswereunlocked.
Previously,overtwofingersofwhiskeyinmyFranklinStreetdigs,IhadtoldPageaboutMajor
BruceMacMannaway,ahealerandpsychicwholivesinScotland.TheMajordiscoveredhis
healingabilitiesinWorldWarIIwhenhisregimentwascutoffwithoutmedicalsuppliesand
theMajorstartedlayingonhandsWellMajor,IthinkitsaloadofbollocksbutIlltry
anything.AnditturnsouttheMajorisawalkinghypo.Hispsychicabilitiesweresohighly
regardedbytheAdmiraltythathewascalledintolocatesunkensubmarines,andhenever
oncemissed.
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IattendedagroupmeditationseminarwiththeMajor.ItturnedouttobetheIndianropetrick.
BeforethesessiontheMajortoldussomethingofthepotentialpoweringroupmeditation.He
hadseenitliftasixhundredpoundchurchorganfivefeetintheair.Ihadnoreasontodoubt
this,sincehewasobviouslyincapableoffalsification.Inthesession,aftersomepreliminary
excercises,theMajoraskedustoseeacolumnoflightinthecenteroftheroomandthentook
usupthroughthelighttoaplateauwherewemetnicefriendlypeople:thestairwaytoheaven
infact.ImeanwewerereallyTHERE.
IturnedtoJimmyPage:Ofcoursewearedealingherewithmeditationthedeliberate
inductionofatrancestateinafewpeopleunderthehandsofanoldmaster.Thiswouldseem
onthesurfacetohavealittleincommonwitharockconcert,buttheunderlyingforceisthe
same:humanenergyanditspotentialconcentration.Ipointedoutthatthemomentwhenthe
stairwaytoheavenbecomessomethingactuallyPOSSIBLEfortheaudience,wouldalsobethe
momentofgreatestdanger.Jimmyexpressedhimselfaswellawareofthepowerinmass
concentration,awareofthedangersinvolved,andoftheskillandbalanceneededtoavoid
themratherlikedrivingaloadofnitroglycerine.
ThereISaresponsibilitytotheaudience,hesaid.Wedontwantanythingbadtohappento
thesekidswedontwanttoreleaseanythingwecanthandle.Wetalkedaboutmagicand
AleisterCrowley.JimmysaidthatCrowleyhasbeenmalignedasablackmagician,whereas
magicisneitherwhitenorblack,goodnorbaditissimplyalivewithwhatitis:therealthing,
whatpeoplereallyfeelandwantandare.Ipointedoutthatthiseither/orstraitjackethad
beenimposedbyChristianitywhenallmagicbecameblackmagic;thatscientiststookover
fromtheChurch,andWesternmanhasbeenstifledinanonmagicaluniverseknownasthe
waythingsare.Rockmusiccanbeseenasoneattempttobreakoutofthisdeadsoulless
universeandreasserttheuniverseofmagic.
JimmytoldmethatAleisterCrowleyshousehasverygoodvibesforanyonewhoisrelaxed
andreceptive.Atonetimethehousehadalsobeenthesceneofavastchickenswindle
indirectlyinvolvingGeorgeSanders,themovieactor,whowasabletoclearhimselfofany
criminalcharges,SanderscommittedsuicideinBarcelona,andwebothrememberedhis
farewellnotetotheworld:Ileaveyoutothissweetcesspool.
ItoldJimmyhewasluckytoohavethathousewithamonsterinthefrontyard.Whatabout
theLochNessmonster?JimmyPagethinksitexists.Iwonderedifitcouldfindenoughtoeat,
andthoughtthisunlikelyitsnottheimprobabilitybuttheupkeeponmonstersthatworries
me.DidAleisterCrowleyhaveopinionsonthesubject?Heapparentlyhadnotexpressed
himself.
Wetalkedabouttrancemusic.HehadheardtheBrianJonesrecordfromrecordingsmadeat
Joujouka.Wediscussedthepossibilityofsynthesizingrockmusicwithsomeoftheolderforms
oftrancemusicthathavebeendevelopedovercenturiestoproducepowerful,sometimes
hypnoticeffectsontheaudience.Suchasynthesiswouldenabletheolderformstoescapefrom
themouldoffolkloreandprovidenewtechniquestorockgroups.
Wetalkedaboutthespecialeffectsusedintheconcert.Sure,hesaid,lights,lasers,dryice
arefinebutyouhavetokeepsomebalance.Theshowmustcarryitselfandnotrelytoo
heavilyonspecialeffects,howeverspectacular,Ibroughtupthesubjectofinfrasound,that
is,soundpitchedbelow16Hertz,thelevelofhumanhearing;asultrasoundisabovethelevel.
ProfesserGavreauofFrancedevelopedinfrasoundasamilitaryweapon.Apowerfulinfra
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soundinstallationcan,heclaims,killeveryoneinafivemileradius,knockdownwallsand
breakwindows.Infrasoundkillsbysettingupvibrationswithinthebodysothat,asGavreau
putsit,Youcanfeelalltheorgansinyourbodyrubbingtogether.Theplansforthisdevice
canbeobtainedfromtheFrenchPatentOffice,andinfrasoundgeneratorsconstructedfrom
inexpensivematerials.Needlesstosay,oneisnotconcernedwithmilitaryapplications
howeverunlimited,butwithmoreinterestingandusefulpossibilities,reachingmuchfurther
thatfivemiles.
Infrasoundsetsupvibrationsinthebodyandnervoussystem.Needthesevibrations
necessarilybeharmfulorunpleasant?Allmusicplayedatanyvolumesetsupvibrationsinthe
bodyandnervoussystemofthelistener.Thatswhypeoplelistentoit.Carusoasyouwil
remembercouldbreakachampagneglassacrosstheroom.Especiallyinterestingisthe
possibilityofrhythmicpulsesofinfrasound;thatis,MUSICININFRASOUND.Youcant
hearit,butyoucanfeelit.
Jimmywasinterested,andIgavehimacopyofanewspaperarticleoninfrasound.Itseems
thatthemostdeadlyrangeisaround7Hertz,andwhenthisisturnedonevenatalow
volume,anyonewithinrangeisaffected.Theyfeelanxious,ill,depressed,andfinallyexclaim
withonevoice,IfeelTERRIBLE!lastthingyouwantatarockconcert.However,around
thebordersofinfrasoundperhapsasaferangecanbefound.Buddhistmantrasactbysetting
upvibrationsinthebody.Couldthisbedoneinamuchmorepowerfulyetsafemannerbythe
useofinfrasoundrhythmswhichcouldofcoursecouldbecombinedwithaudiblemusic?
Perhapsinfrasoundcouldaddanewdimensiontorockmusic.
Couldsomethingbedevelopedcomparabletothesonarcommunicationofdolphins,
conveyinganimmediatesonarexperiencethatrequiresnosymbolictranslation?Imentioned
toJimmythatIhadtalkedwithDr.Truby,whoworkedwithJohnLillyrecordingdolphins.Dr.
Trubyisaspecialistininterspeciescommunication,workingonagrantfromthegovernment
sothatwhenallourkidsarebornVenusianswewillunderstandthenwhentheystarttotalk.I
suggestedtohimthatALLcommunication,asweknowit,isactuallyinterspecies
communication,andthatitiskeptthatwaybythenatureofverbalandsymbolic
communication,whichmustbeindirect.
Dodolphinshavealanguage?Whatisalanguage?Idefinealanguageasacommunication
systeminwhichdataarerepresentedbyverbalorwrittensymbolssymbolsthatARENOT
THEOBJECTStowhichtheyrefer.Thewordchairisnottheobjectitself,thechair.Soany
suchsystemofcommunicationisalwayssecondhandandsymbolic,whereasweCAN
conceiveofaformofcommunicationthatwouldbeimmediateanddirect,undercuttingthe
needforsymbols.Andmusiccertainlycomesclosertosuchdirectcommunicationthan
language.
Couldmusicalcommunicationberenderedmoreprecisewithinfrasound,thusbringingthe
wholeofmusicasecondradicalstepforward?Thefirststepwasmadewhenmusiccameout
ofthedancehalls,roadhouses,andnightclubs,intoMadisonSquareGardenandShea
Stadium.Rockmusicappealstoamassaudience,insteadofbeingtheprovinceofarelatively
fewaficionados.Canrockmusicmakeanotherstepforward,orisitaselflimitingform,
confirmedbythedemandsofamassaudience?Howmuchthatisradicallynewcanamass
audiencesafelyabsorb?Wecamebacktothequestionofbalance.Howmuchnewmaterialwill
beacceptedbyamassaudience?Canrockmusicgoforwardwithoutleavingitsfansbehind?
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WetalkedaboutWilhelmReichsorgoneaccumulator,andIshowedhimplansformakingthis
device,whichwerepassedalongtomebyReichsdaughter.Basicallythedeviceisvery
simple,consistingofironorsteelwoolontheinsideandorganicmaterialontheoutside.I
thinkthiswashighlyimportantdiscovery.RecentlyascientistwiththeNationalAeronautics
andSpaceAdministrationannouncedanelectricalcelltheoryofcancerthatisalmost
identicaltoReichscancertheoryputforth25yearsago.Hedoesnotacknowledgeany
indebtednesstoReich.IshowedJimmytheorgoneboxIhavehere,andweagreedthatorgone
accumulatorsinpyramidformand/orusingmagnetizedironcouldbemuchmorepowerful.
WetalkedaboutthefilmPerformanceandtheuseofcutuptechniquesinthisfilm.Nowthe
cutupmethodwasappliedtowritingbyBrionGysinin1959;hesaidthatwritingwasfifty
yearsbehindpainting,andappliedthemontagemethodtowriting.Actually,montageismuch
closertothefactsofperceptionthatnrepresentationalpainting.Ifforexampleyouwalked
throughTimesSquare,andthenputoncanvaswhatyouhadseen,theresultwouldbea
montagehalfapersoncutintwobyacar,reflectionsfromshopwindows,fragmentsofstreet
signs.AntonyBalchandIcollaboratedonafilmcalledCutUps,inwhichthefilmwascut
intosegmentsandrearrangedatrandom.NicholasRoegandDonaldCamelsawascreeningof
thefilmnotlongbeforetheymadePerformance.
MusicalcutupshavebeenusedbyEarlBrowneandothermoderncomposers.What
distinguishesacutupfrom,say,aneditedmedley,isthatthecutupisatsomepointrandom.
Forexample,ifyoumadeamedleybytakingthirtysecondsfromanumberofscoresand
assemblingthesearbitraryunitsthatwouldbeacutup.Cutupsoftenresultinmoresuccinct
meanings,ratherthannonsense.Hereforexampleisaphrasetakenfromacutupofthis
article:Icanseethelasergatecrasherswithanappreciativecheerfromthe13throw.
(Actuallyagatecrasherwasextricatedbysecurityfromtherowinfrontofus;anincidentI
hadforgotenuntilIsawthiscutup.)
OverdinnerattheMexicanGardens,IwassuprisedtohearthatJimmyPagehadneverheard
ofPetrillo,whostartedthefirstmusiciansunionandperhapsdidmorethananyotherone
mantoimprovethefinancialpositioinofmusiciansbyprotectingcopyrights.Onewonders
whetherrockmusiccouldhavegottenoffthegroundwithoutPetrilloandtheUnion,which
putmusiciansinthebigmoneybracket,therebyattractingmanagers,publicity,andthemass
audience.
Music,likeallthearts,ismagicalandceremonialinorigin.Canrockmusicreturntothese
ceremonialrootsandtakeitsfanswithit?CanrockmusicuseolderformslikeMoroccantrance
music?Thereisatpresentawideinterestamongyoungpeopleintheoccultandallmeansof
expandingconsciousness.Canrockmusicappealdirectlytothisinterest?Inshort,therearea
numberofdisparatetendencieswaitingtobesynthesized.Canrockmusicserveasavehicle
forthissynthesis?
Thebrokenguitarstrings,JohnBonhamsdrumsolo,vitalitybyRobertPlantwhenyouget
thatmanypeopletogetit,verygood.Buyastrawhatatthedoortheaudiencealllight
matches.Coolwelltrainedlaserbeamschannelledtheaudiencesmoothly.Ascatteringof
sparklers.DangertoaMexicanbordertown.Westarttalkingoveracupofthemass
unconsciouscuttoasoccerriotphotoinLima.TheUruguayanrefereeasanotherrockstar.
Soundlikefallingmountainsoftherisksinvolved.Itsourjobtoseetroubleandplateauthe

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centeroftheroomrememberthestairwaytoSwitzerland?Firereallythere.Youcantseeitif
yourefuseunderlyingforcethesame.Imeanwewereplayingadancehallinheavenatthe
momentwhenthestairwayactuallypossiblefortheaudiencewasunlocked.
WORDFORWORD
WILLIAMBURROUGHS:Ireally,reallyenjoyedtheconcert.Ithinkithasquitealot,really,in
commonwithMoroccantrancemusic.
JIMMYPAGE:Yes,yes.
WB:Iwonderedifyouconsciouslywereusinganyofthat.
JP:Well,yes,thereisalittleonthatperticulartrack,Kashmiraleadbassonthateven
thoughnoneofushavebeentoKashmir.Itsjustthatweveallbeenveryinvolvedinthatsort
ofmusic.Imveryinvolvedinethnicmusicfromallovertheworld.
WB:HaveyoubeentoMorocco?
JP:No.Ihavent,anditsaverysadadmissiontomake.Iveonlybeento,youknow,Indiaand
BangkokandplaceslikethatthroughtheSoutheast.
WB:Well,IveneverbeeneastofAthens.
JP:Becauseduringtheperiodwheneverybodywasgoingthroughtripsoverto,youknow,
Morocco,goingdown,waydown,makingtheirownjourneystooIstanbul,Iwasatartcollege
duringthatperiodandthenIeventuallywentstraightintomusic.SoIreallymissedoutonall
thatsortoftraveling.ButIknowmusiciansthathavegonethereandactuallysatinwiththe
Arabsandplayedwiththem.
WB:Yeah,welltheythinkofmusicentirelyinmagicalterms.
JP:Yes.
WB:Andtheirmusicisdefinitelyusedformagicalpurposes.Forexample,theGnaouamusicis
todriveoutevilspiritsandJoujoukamusicisinvokingtheGodPan.Musiciansthereareall
magicians,quiteconsciously.

WB:Iwasthinkingoftheconcentrationofmassenergythatyougetinapopconcert,andif
thatwere,say,channeledinsomemagicalwayastairwaytooheavenitcouldbecomequite
actual.
JP:Yes,Iknow.Oneissoawareoftheenergiesthatyouaregoingfor,andyoucouldso
easily.Imean,forinstance,theothernightweplayedinthePhiladelphiaSpectrum,which
reallyisablackholeasaconcerthall.Thesecuritythereisthemostuglyofanywhereinthe
States.IsawthisincidenthappenandIwasalmostphysicallysick.Infact,ifIhadntbeen
playingtheguitarIwasplayingitwouldvebeenoversomebodyshead.Itwasadoubleneck,
whichisirreplaceable,really,unlessyouwaitanotherninemonthsforthemtomakeanother
oneatGibsons.
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Whathadhappened,somebodycametothefrontofthestagetotakeapictureorsomething
andobviouslysomebodysaid,Beoffwithyou.Andhewouldntgo.Andthenonechap
wentoverthebarrier,andthenanother,andthenanotherandthenanother,andtheyallpiled
ontopofyoucouldseethefistscomingoutonthisonesolitaryperson.Andtheydragged
himbyhishairandtheywerekickinghim.Itwasjustsickening.Now,whatImsayingis
this.Ourcrowds,thepeoplethatcometoseeusareveryorderly.ItsnotthesortofAlice
Cooperstyle,whereyouactuallyTRYtogetthemintoastatewheretheyvegottogolikethat,
sothatyoucangetreportsofthis,thatandtheother.Andthewrongwordsaidatthattime
couldvejustsparkedoffthewholething.
WB:Yes,theressortofabalancetobemaintainedthere.
JP:Yeah,thatsright.
WB:Theaudiencetheothernightwasverywellbehaved.

WB:Haveyouusedthelasersinalloftheconcerts?
JP:Overhere,yes.
WB:Veryeffective.
JP:Ithinkweshouldhavemoreofthem,dontyou?Aboutthirtyofthem!Doyouknowthey
bouncedthatoneoffthemoon.Butitsbeencondensed.itstheveryonethattheyusedfor
themoon.Iwasquiteimpressedbythat.
WB:Thatisntthekindofmachinethatwouldcauseanydamage.
JP:Uh,ifyoulookstraightintoit,yes.
WB:Yes,butImeanitdoesntburnaholein
JP:No.itsbeentakenrightdown.Imjustwaitingforthedaywhenyoucangetthe
hologramsgetthreedimensional.TheotherthingIwantedtodowastheVandeGraaff
Generator.Youusedtoseethemintheoldhorrorfilms.
WB:OhyesFrankenstein,andallthat.

JP:Whenwefirstcameoverherewhenthedraftwasreallyhotandeverythingifyou
stayedinthecountryformorethansixmonths,youwereeligibleforit,theyddragyou
straightintothedraft.
WB:Ididntrealizethat.
JP:Yeah.
WB:Oh,IthoughtyouhadtobeanAmericancitizen.
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JP:Noo.Nono.Wealmostoverstayedourwelcome.Iwasproducingandhavingtoworkin
studioshere,andthedayscominguptothesixmonthperiodwerejustaboutitwasjust
aboutneckandneck.AndIstillhadacouplemoredaysleftandacouplemoredaystowork
onthislp.
WB:Weretheyrighttherewiththepapers?
JP:Well,notquite,Imeanobviouslyitwouldhavetakensometime,butsomebodywouldve
beenthereYouknow,theydokeepaneyeonpeople.

WB:Didyoueverhearaboutsomethingcalledinfrasound?
JP:Uh,carryon.
WB:Well,infrasoundissoundbelowthelevelofhearing.Anditwasdevelopedbysomeone
namedProfessorGavreauinFranceasamilitaryweapon.Hehadaninfrasoundinstallation
thathecouldturnonandkilleverythingwithinfivemiles.Itcanalsoknockdownwallsand
breakwindows.Butitkillsbysettingupvibrationswithinthebody.Well,whatIwas
wonderingwas,whetherrhythmicalmusicatsortoftheborderlineofinfrasoundcouldbe
usedtoproducerhythmsintheaudiencebecause,ofcourse,anymusicwithvolumewillset
upthesevibrations.Thatispartofthewaytheeffectisachieved.
JP:Hmm.
WB:Itsapparentlyitsnotcomplicatedtobuildtheseinfrasoundthings.
JP:Iveheardofthis,actuallybutnotinsuchadetailedexplanation.Iveheardthatcertain
frequenciescanmakeyouphysicallyill.
WB:Yes.Well,thiscanbefatal.Thatsnotwhatyourelookingfor.Butitcouldbeusedjustto
setupvibrations.
JP:AhhahAdeathraymachine!Ofcourse,whenradiofirstcameouttheywerepicketingall
theradiostations,werentthey,sayingWedontwantthesepoisonousrays[laughter].Yes,
wellcertainnotescanbreakglasses.Imean,operasingerscanbreakglasseswithsound,this
istrue?
WB:ThatwasoneofCarusostricks.
JP:Butitistrue?
WB:Ofcourse.
JP:Iveneverseenitdone.
WB:Iveneverseenitdone,butIknowthatyoucandoit.
JP:IwantlaserNOTES,thatswhatImafter!Cutrightthrough.

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WB:Apparentlyyoucanmakeoneofthesethingsoutofpartsyoucanbuyinajunkyard.Its

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WB:Apparentlyyoucanmakeoneofthesethingsoutofpartsyoucanbuyinajunkyard.Its
notacomplicatedmachinetomake.AndactuallythepatentitspatentedinFrance,and
accordingtoFrenchlaw,youcanobtainacopyofthepatent.Foraverysmallfee.
JP:Well,youseethethingis,itshardtoknowjustexactlywhatisgoingon,fromthestageto
theaudienceYoucanonlyImeanIveneverseenthegroupplay,obviously.BecauseIm
partofit.Icanonlyseeitoncelluloid,orhearit.ButIknowwhatIsee.Andthisthingabout
rhythmswithintheaudience.Iwouldsayyes.Yes,definitely.AnditisMusicwhichinvolves
riffs,anyway,willhaveatrancelikeeffect,anditsreallylikeamantra.Andwevebeen
attackedforthat.
WB:Whatamantradoesissetupcertainvibrationswithinthebody,andthis,obviouslydoes
thesamething.Ofcourse,itgoes.itcomesouttoofar.ButIwaswonderingifonthe
borderlineofinfrasoundthatpossiblysomeinterestingthingscouldbedone.
JP:Ah.

JP:Lastyearwewereplaying[sets]forthreehourssolid,andphysicallythatwasarealI
mean,whenIcamebackfromthelasttourIdidntknowwhereIwas.Ididntevenknow
whereIwasgoing.WeendedupinNewYorkandtheonlythingthatIcouldrelatetowasthe
instrumentonstage.Ijustcouldnt.Iwasjusttotallyandcompletelyspacedout.
WB:Howlongwasthatyouplayedrecently?Thatwastwohoursandahalf.
JP:Thatwastwoandahalfhours,yes.Itusedtogoforthreehours.
WB:Idhatetogiveathreehourreading.
December5,2007byjaybabcockCategories:magick,Uncategorized|Tags:Crawdaddy,Led
Zeppelin,PeterWatkins,WilliamBurroughs|17Comments

17thoughtsonWilliamBurroughson
LedZeppelin!
BIGKITTYsays:December5,2007at9:29pm
Wetalkedabouttrancemusic.HehadheardtheBrianJonesrecordfromrecordingsmade
atJoujouka.Wediscussedthepossibilityofsynthesizingrockmusicwithsomeoftheolder
formsoftrancemusicthathavebeendevelopedovercenturiestoproducepowerful,
sometimeshypnoticeffectsontheaudience.Suchasynthesiswouldenabletheolderforms
toescapefromthemouldoffolkloreandprovidenewtechniquestorockgroups.
ThisiswhatHenryFlyntdidwithhillbillyandbluesmusicinthe60s.
Reply
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DavidS.Willssays:September15,2010at5:51am
Thanksforthat.IlovereadingoldBurroughsarticles.
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Angelasays:October12,2010at8:33pm
Thankyou!xo!
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ResearchJournal
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Marksays:August19,2011at5:36pm
Wonderful!Ihaventreadthatinyears.IwishJimmyhadfleshedoutmoreofthose
mysticalideas,ratherthansinkingintothebogofaddiction.Thankyousomuchforthis.
Reply
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onattendingaconcertandtalkingwithJimmyPage,IwasnotsureIcoulddoit,notbeing
sufficientlyknowledgeableaboutmusictoattemptanythinginthewayofmusical
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Davesays:September23,2012at12:06pm
Lovedthis.Thanks.ThelinkforthisarticleisdeadontheCrowleysocietyswebsite.Itis
interestingthatBurroughscouldwritesomuchaboutwhatisnotLedZeporJimmyPage
andstillgetagreatarticleaboutthem.Musichaschanged.Solittleofitisnowabout
directingtheaudiencesenergyliketheDoorsorZeppelin.Inawayitsgood,peoplehave
gottenoverthemystification,somethingthepunksemancipatedthemselvesfrom.Onthe
other,itsbad,wewantourshamansandwhenwelookfortheminpoliticians,itgetsugly
fast,whichseemstobehappeningtoacertainextentnow.IdontknowalotaboutLady
Gaga,butsheseemstobetryingforthisandmaybeasakindofderivativeDavidBowie.
Evenifwritingwas(stillis?)aheadofmusicasBurroughsinsists,musicandmusical
performanceismoreimmediateandevenwhenlisteningtorecordedmusic,morevisceral.
Thisispartofthewholeliterarymovementbehindgraphicnovels,togetsomethingmore
musicalandmorecinematic.Andthisinlargeparthascomefromemancipatingthe
narrativefromtheword.Ithinkthatispartofwhatcutupswasabout,aswellaslooking
forhiddenmeaningintext.
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ImissthephysicalAuthur!IusedtoenjoyfindingitsomuchwhenIlivedinChicago.Ifit
stillexists,itdoesntreachSoutheastIdahowhereInowlive.Thanksforthewebsite.
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