Tag Groups used in Events

From Quebec City, performance poet Alain Martin Richard is a former member of the collectives Inter/Le Lieu and The Nomads, and has presented his work throughout North America, Europe, and Asia.

For this performance he was accompanied by sound tapes.

Words and music by Montrealer and Ultimatum organizer Alan Lord (me), except where noted otherwise. The electronic music of the four song/poems was executed by Boys du Sévère (Jean-Luc Bonspiel and Jean-Martin Mignault).

Title: Too Much Money

The computer-generated videos projected for all the songs were created by Boris Wanowitch aka Pierre Zovilé, using an Apple II computer

Title unknown

I say "c'était Philippe Soupault" (transl: "it was Philippe Soupault" - the Surrealist poet). Because the last line of the song/poem was a quote of his: "Je plonge dans la joie, il y a encore tant de gens à assassiner")

Title: Everybody

Title: Ignoring The Future Today

Music composed by Jean-Luc Bonspiel.

The Montreal band Boys du Sévère consisted of singer and composer Jean-Luc Bonspiel, singer Josée Thibeault, with Jean-Martin Mignault on electronic drums. They were the musical part of Boris Wanowitch and the band members’ production Misère Plus.

Boris sat at an inquisitorial desk with Jean-Luc Bonspiel, each taking turns reading from text being printed randomly live on a scritchy dot-matrix printer, using my computer cut-ups program. This was the most cutting-edge literary event of the festival, technically speaking.

Boris then sat in a chair reading a newspaper while Josée gave him a haircut, with the loud buzzing electric clipper amplified by contact mics.

Boris and singer Josée Thibeault were wearing shiny black Spanish Guardia Civil hats.

Their sacrilegious song “Jésus” was included on the festival’s documentary LP.

Festival participants Jean-Luc Bonspiel, Jean-Martin Mignault, Jack V and I later formed Montreal’s seminal agitrock band Vent du Mont Schärr (1986 – 1990).

I joined them on guitar to play the jazz chords of our old Electro-Luxe song “The Wrong Way”, this time featuring Josée’s honeydripping voice.

All of us present on stage were once Neoists - a wacky Montreal gang of exquisite troublemakers

Montreal Novelist Colette Tougas (“le porphyre de la rue Dézéry”), sings a capella the sultry “Modesty” in her smouldering breathy voice — which begged to be included on the festival’s documentary LP.

Coincidence: I grew up on Dézéry, corner Hochelaga

Montreal poet Daniel Guimond was very provocative. In the late 70’s he gave performances dressed in S&M gear, reading his texts while being whipped. He also produced one of the first punk poezines, called SCRAP.

With books such as “Pornographic Delicatessen” and "Lesbiennes d'acide", poet Denis Vanier (Sept 27, 1949 – Oct 7, 2000) was the reigning king of Montreal’s counter-culture. His book “Je” ( “I” ) was published at age 15 by none other than Quebec’s legendary union activist Michel Chartrand.

Here, as Vanier was reading, a female fan in the audience started heckling him. He said: “Are you coming up? You coming up or you’re scared? (meaning, to read in his place).” The woman came up, Vanier offered her his tome, and she brushed him off with: “I don’t need the book.” She finished the poem from memory, to great applause. Vanier came back to the microphone and thanked “Marie”.

Denis Vanier died of an AIDS-related cancer, at the age of 51

Montréal artist Geneviève Letarte is the author of several novels, of which “Soleil Rauque” (“Hoarse Sun”) was the most acclaimed. She also published a collection of poetry, and has recorded two albums of songs.

During her performance she sings through window drapes hanging on a rod over her head, which she pushes apart, to be seen.

The musicians accompanying her are: Bernard Poirier: Guitar, bass, percussion, and Claude Saint-Jean: Synthesizer, trombone.

The song “Petit Nuage et Betelgeuse” is on the Ultimatum documentary vinyl LP.

Last on the festival bill—and closing off the proceedings—was beloved Beat Generation legend Herbert Huncke, reading from his book The Evening Sun Turned Crimson. I introduced Huncke, and he led off by saying: “I really want to start off with one particular story here, because I feel that it will fit into the general theme of the festival … a group of creative people, young people trying to do things, it’s very very encouraging for an old man like me… I want to think that things have progressed a little …”

On April 20th 1989, I invited Herbert Huncke to read at my “Tribute To William Burroughs” soirée at the Foufounes Électriques. His old friend Bill was there, and the two were left together to catch up with each other in a VIP room set up for them. You can read about that special moment - and much more - in my book High Friends In Low Places published by Guernica.

The last time I saw my beloved Huncke was at a party he brought me to at New York’s Chelsea Hotel, in November of 1990.

For his performance—called “Poésie guerrière”—Montrealer Jack V starts off by singing while shaving with an electric razor.

He says "sept ans d'malheur!" (seven years bad luck!) and smashes a mirror

The music we hear faintly in the background is the song Hospitality by Sparks

He then stripped down to the waist, thus revealing the war paint on his body. He started dancing, prancing and swaying in abandon like a wild man.

Jack was a member of the Neoists, and played bass in Monty Cantsin’s First Aid Brigade.

Festival participants Jack V, Jean-Luc Bonspiel, Jean-Martin Mignault and I later formed Montreal’s seminal agitrock band Vent du Mont Schärr (1986 – 1990).

He is joined by a regiment of a half-dozen drummers, one by one—a Post-Punk marching band—martially rat-tatting their snares. Jack was feline and menacing, irresistibly magnetic. This was poetry beyond words, and one of the festival’s highlights.

Jean-Paul Curtay is a French visual artist, writer, video artist, poet, and Lettrist choreographer born in 1951. He is the inventor of “bodily music” and “hypergraphic music.” In painting, his primary mode of expression is hypergraphy (the use of the sign as the sole represented object).

He is the author of the first anthology of Lettrist poetry, which he published in 1974. One of his pastels is part of the collection

Very active in the Lettrist scene beginning in 1967, he began to distance himself from the group around 1978. He ceased all public creative activity in 1988. Jean-Paul Curtay is also known as a physician specializing in nutritional therapy and herbal medicine.

John Giorno (December 4, 1936 – October 11, 2019) was an American poet and performance artist. He organized a number of early multimedia poetry experiments and events, notably his "Dial-A-Poem" project in the Sixties, which allowed people to call a phone number to hear brief poems by contemporary poets. He founded Giorno Poetry Systems in the Seventies, issuing vinyl albums and videos featuring himself and renowned artists such as William S. Burroughs, Patti Smith, Laurie Anderson, Philip Glass, Jim Carroll, Frank Zappa, Diamanda Galás, Allen Ginsberg, and John Cage. He was also a Buddhist, an AIDS activist, and later in life he made Poem Prints – multicolored paintings featuring pithy phrases such as “YOU GOTTA BURN TO SHINE”. In the Eighties he started touring with his John Giorno Band. The lineup here is: C.P. Roth – Music, keyboards , Adam Roth – Guitar , David Conrad – Bass , Mike Osborne - Drums

The song “(Last night) I Gambled with my Anger and lost” is on the Ultimatum documentary vinyl LP. Giorno asked me for a copy of the video of the song, and he included the Ultimatum footage in one of his Giorno Poetry Systems videos

With her books such as “Travesties-kamikaze”, “Maîtresses-Cherokees”, and “Danseuses-mamelouk”, poet Josée Yvon (March 31, 1950 – June 12, 1994) was the reigning queen of Montreal’s counter-culture, and cherishes a great ongoing popularity and literary appreciation.

Josée was fond of self-medication, and was visibly and audibly stoned for this performance, teetering and slurring her words.

When I met Josée, she was stoned on Mandrax, and caressing a pet tarantula on her lap.

Josée Yvon died of AIDS at the age of 44, becoming blind at the end.

Karl Jirgens is a writer, based in Toronto at the time, and was the editor of Rampike – a literary journal which featured hundreds of Canadian and other writers from around the world, also concrete poetry, found poetry, as well as interviews, from 1979 to 2016. He is also an 8th degree black-belt Grand-master in the martial art of Tae Kwon Do. During his performance he placed a strap over his head which held a revolver on each side of his head, pointing at his temples.

Montreal writer Ken Decker conversed with his Apple II computer. To my knowledge, this performance of a writer interacting live with a computer was a first.

Ken Decker explains: “At the time, I was writing some software for Logo Computer Systems Inc. They gave me a by-then obsolete Apple II Plus, along with a compact Apple IIc and that little monitor and very expensive external disc drive. The piece I performed at was called “STOP 4 GAS” and was written in FP-BASIC, which language was included in on-board ROM. I used a chain of video splitters and RF cable to send the monitor image out to the TV sets in the Foufoune Électrique’s bar.”

Ken further says: “STOP 4 GAS” was subsequently re-written in C and assembler for the Amiga computer, on a Canada Council grant, and exhibited at FAUST in Toulouse, France and at PIXIM 1988 at la Villette, Paris, and at La Cité des arts et des nouvelles technologies de Montréal, curated by Hervé Fischer.”

Ken Decker returned to read the story "Cleaning The Tools" at the Ultimatum II festival in September 1987.

In 1983 Ken Decker published a book of fictional texts called “Backyard Gene Pool” .

Montreal poet Mario Campo (March 27, 1951 – January 31, 2006).

I did the electronic music for this

Mario is wearing an alien mask for this poem

Music: "Arabesque" by my 1984 band Débris, which consisted of me on bass, and Jean-Martin Mignault on electronic drums. Graffiti artist Zilon does the Arabic chanting

Mario is wearing a bedouin headdress for this poem

“Arabesque” is on the Ultimatum documentary vinyl LP.

Music: “The Clone Café” by Débris: me on guitar, Jean-Martin Mignault on electronic drums

Montreal Poet Michel Lefebvre, dressed as a space alien, is quite visibly and audibly tipsy during the performance, knocking over vials of liquid on a table, with a girl in a Hugo Ball costume hovering robotically nearby.

Michel Lefebvre later founded and ran TOPO – a Montreal center for multimedia digital expression in the arts - for 25 years.

Richard Martel is a multidisciplinary artist from Quebec City. He is a founding member of the renowned contemporary art journal Inter, and in 1982 he co-founded Le Lieu, an artist-run centre located in Quebec City.

For this performance he was accompanied by sound tapes, and for his performance “Subordination”, he repeatedly flipped a metal printing press implement loudly on a table that was closely mic’d.

Montreal poet Steve Montambault—dressed as a medieval monk—warbled his text through a voice-altering device, accompanied by sound tapes and a hypnotic video

Speaks [unintelligible].

OK.

Bon, il s’agit d’un texte qui est un texte charnel, traite par ordinateur. A la partition, vois imprimante toast melba et popsicle.

Performs piece, speaks, drones, and pants [underscored by vocalizations, overlapping speech, and electronic mix].

Continues piece.

Continues piece, speaks, drones, and groans [underscored by vocalizations, overlapping speech, and electronic mix].

Continues piece, speaks, drones, grunts, and pants [underscored by vocalizations, scratching sound, screams, and other electronic sounds].

Continues piece, growls, speaks, and vocalizes [underscored by vocalizations, distorted speech, and electronic mix].

Continues piece, grunts, drones, vocalizes, pants, and giggles [underscored by vocalizations, distorted speech, slurping sounds, lip smacking sounds, and electronic mix].

OK on peut y aller.

Video demi-pouce.

Performs "Too Much Money", sings [English] [underscored by bass, electric drums, and electric keyboard].

Continues "Too Much Money".

Merci pour la meilleure sono qu’avant [speech overlaps with applause].

Performs piece, speaks rhythmically [English] [underscored by bass, electric drums, and electric keyboard].

Continues piece.

C’etait Philippe Soupault [speech overlaps briefly with beginning of next piece]

Performs "Everybody", sings [English] [underscored by electric drums, synth, and other electronic sounds.

Merci, merci [speech overlaps with end of music].

Musique du Boys du Severe qui vont jouer Vendredi soir… et a la voie Josee Thibeault vendredi soir ici meme au… au Foufounes Electriques [over top of music]

Performs "Ignoring the Future Today", speaks rhythmically [English] [underscored by electric drums, synth, and electric keyboard].

Continues "Ignoring the Future Today" [no underscore].

Thank you.

Merci, merci, merci, merci. Il faut comprendre que, il faut comprendre que j’aimerais ca pouvoir ecrire en francais, mais j’ecris en anglais, bon,

Performs piece, vocalists speak rhythmically [French] atop electronic music.

Continues piece [no musical underscore].

Bien.

Speaks [unintelligable].

Performs piece, vocalist speaks [French].

Speaks [unintelligable].

Speaks [unintelligable].

Shouts.

Speaks [unintelligable].

Continues piece, vocalist speaks [French] over audio loop.

Continues piece, vocalist speaks [French].

Continues piece, vocalist speaks [French].

Continues piece, vocalist speaks [French] over top of audio loop.

Continues piece, vocalist speaks [French] over recorded audio loop.

Okay now, Jesus. Jesus.

Ouais!

Coughs.

Cheering and exclamations [unintelligable].

Speaks [unintelligable].

Performs “JESUS”, vocalists sing [French] in sync atop music.

Continues piece, vocals resume atop music.

Performs piece, vocalists speak rhythmically atop music.

Echo sound effect.

Le demi pouce, le demi pouce. Ou est le demi pouce ?

Giggles.

Performs piece, vocalist sings [French] over electronic music.

Microphone feedback, vocals and music continue.

Continues piece.

Performs piece, vocalist speaks rhythmically [Spanish] atop electronic beat.

Continues piece, vocalist resumes rhythmic speech.

Continues piece, vocalists speak and shout rhythmically [Spanish] atop music, echo effects.

Hey, Alan Lord. Hey, come on. [Echoing].

Let’s improvise something.

You have to play the guitar now.

Clapping.

His name is Alan Lord. He’s a friend.

Two vocalists speak [Spanish extra-poetic speech].

Du drum s’il vous plait.

Alright [echoes], unintelligible speech continues [echoes].

This is all brand new.

Do you wanna do it?

And that’s great.

Technologie retrogade [cowbell], mais euh [voice effect], on voit que encore malgre tout, avec tout le signal analogue comme ca que [echo effect] l’on possede et que l’on manipule, il y a encore des gens mal pris que nous [echo effect]. Ah ouais. Jouer pas avec mes ners la parce que je’n peux plus la, je’n suis plus capable la, je vais craquer la. Okay. [Distorted echo effect, overlaps with audience laughter].

Euh, tu veux te rire de moi, toi ?

Mais c’est bien cette machine la, j’en veux une.

El maestro.

Echo, echo.

Performs piece, vocalist sings atop electronic beat [English].

Guitar gets louder then recedes, vocalist continues.

Continues piece.

Continues piece, second vocalist joins.

Continues piece, vocalists resume singing.

Continues piece, vocalists resume singing.

Bonsoir. Moi, je vais vous parler de Clara La Brune et de la seduction [audience chatter throughout speech].

Performs "Clara La Brune", sings [French] [microphone feedback and audience chatter throughout].

Continues "Clara La Brune", speaks [French] [microphone feedback and audience chatter throughout].

Il y a du feedback.

Laughs.

Resumes "Clara La Brune" [microphone feedback and audience chatter throughout].

Resumes "Clara La Brune" [microphone feedback throughout].

Resumes "Clara La Brune [microphone feedback continues and audience chatter throughout].

Laughs.

Merci.

Resumes performance.

Resumes performance [audience chatter throughout].

Continues "Clara La Brune", sings [Italian] [audience chatter throughout].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Laughs.

Continues "Clara La Brune", sings [Italian] [audience chatter throughout].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Continues "Clara La Brune", sings [Italian] [audience chatter throughout].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Continues "Clara La Brune", sings [Italian] [audience chatter throughout].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Continues "Clara La Brune" [audience chatter throughout].

Continues "Clara La Brune" [audience chatter throughout].

Claps.

J’ai pas fini, je m’excuse.

Laughs.

Continues "Clara La Brune", speaks [English] [audience chatter throughout].

Continues "Clara La Brune", speaks [English] [audience chatter throughout].

Continues "Clara La Brune", scats [audience chatter throughout].

Continues "Clara La Brune", sings [English] [audience chatter throughout].

Continues "Clara La Brune" [audience chatter throughout].

Claps and cheers [overlaps with performance].

Continues "Clara La Brune" [audience chatter throughout].

Cheers.

Continues "Clara La Brune" [audience chatter throughout].

Merci [speaks overtop of applause].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Continues "Clara La Brune" [audience chatter throughout].

Continues "Clara La Brune" [audience chatter throughout].

Continues "Clara La Brune" [audience chatter throughout].

Continues "Clara La Brune", sings [French] [audience chatter throughout].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Laughs [overlaps with performance].

Continues "Clara La Brune" [audience chatter throughout].

Continues "Clara La Brune", sings [French] [audience chatter throughout].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Continues "Clara La Brune", sings [French] [audience chatter throughout].

Continues "Clara La Brune", speaks [French] [audience chatter throughout].

Continues "Clara La Brune", sings [French] [audience chatter throughout].

Performs piece [recites English poem atop recorded overlapping French and English vocals, feedback hum present throughout].

Continues piece with low percussive sound in background.

Continues piece.

Continues piece with low percussive sound in background.

Continues piece with musical underscore [electronic music].

Continues piece.

Continues piece with musical underscore [electronic music].

Continues piece.

Performs piece [recites French poem atop music and recorded poetry].

Continues piece atop electronic beat.

Continues piece.

Continues piece, electronic beat and recorded vocals fade out.

Continues piece.

Continues piece.

Continues piece, barely audible atop recorded water sounds [violent bubbling and gushing, possibly man drowning].

Continues piece.

Continues piece.

Performs piece [French].

Continues piece atop sporadic pre-recorded French vocals [occasional feedback].

On recommence d’ici un peu.

Resumes piece atop sporadic pre-recorded French vocals.

J’ai pas [unintelligible], c’est correct. Incor–j’ai meme pas eu le temps de le tapper. [Starts to resume performance] Incontenable. Non. Ouais.

Resumes piece.

Continues piece atop electronic music and pre-recorded English vocals.

Pas de punkrockers dans la salle, hein ?

Ca n'est pas un gros probleme.

Speaks [unintelligible].

Okay. Une chanson pour Pagliaro. Que j'ai fait pour Paglio que j'ai jamais chante evidemment. C'est trop epe, qui dit…

Speaks [unintelligible].

Eugh. Et j'ai commence par [maybe:Rafenbag], je fini par Pagliaro, bon.

Il y a une personne qui veulent chante.

Il y a une personne qui veulent chante.

Mais [maybe:Janice] a envi la.

Bon b'en elle restera la. Bon il s'appelle "Les baisers". Chanson pour Gerry et le group Offenbach.

Reads "Les baisers" [French].

Speaks [unintelligable].

Speaks [unintelligible].

Viens tu ? Viens tu, ou t’a peur ?

Speaks [unintelligable].

Bon ben viens pas. Vient en.

Oui je le veux. Je [maybe:film] le reste. Non, mais, esti… Si t'es pas capable, dis les pas [audience member responds throughout].

Speaks [unintelligable].

J'ai pas besoin du livre.

Speaks [unintelligable].

Performs poem by memory [French].

Apres Marie, c'est l'electrolyse masculine. Ca c'est pas loin de ou ce qu'on est la. C'est a [unintelligable] [audience laughter throughout].

Reads "L'électrolyse masculine" [French].

[Distorted audio continues] Euh, ca s'appelle "Des images de riz". Ca vient de sortir chez [maybe:BLB], si ca t'interesse la.

[Distorted audio continues] Reads "Des images de riz" [French].

Continues "Des images de riz" [French].

Ca c'etait pour [unintelligible], c'est cent pourcent.

Sharp breath.

Bon. Le dernier. Blackstrap, Vous conaissez-vous ca? Blackstrap–

Par a…

Starts reading poem [French].

Parles-y, hello ?

[Sighing], bon ca s'appelle "Le journal du peuple". C'est un affair chinoise, la.

Reads "Le journal du peuple" [French].

Performs "Petite Nuage et Betelgeueuse", recites poetry and vocalizes atop distorted electric guitar, electronic sounds, and trombone.

Continues "Petite Nuage et Betelgeueuse", speaks rhythmically and sings atop electronic percussion, synth, electric guitar, and keyboard.

Continues "Petite Nuage et Betelgeueuse", speaks atop static, and high- and low-pitched ringing.

Continues "Petite Nuage et Betelgeueuse" atop high-pitched ringing and synth melody.

Continues "Petite Nuage et Betelgeueuse", musical underscore shifts, electric guitar, electronic ringing sounds, percussion, synth, bass, trombone.

Continues "Petite Nuage et Betelgeueuse", speaks and sings, musical underscore shifts, guitar, bass, trombone, keyboard, synth.

Continues "Petite Nuage et Betelgeueuse", speaks and sings atop synth, bass, trombone, and cow bell.

Merci.

J’espere, j’espere un jour que on peut dire 'Herbert Huncke' puis on l’appreciera pleinement son avoir a faire des deferences a la Beat Generation, Kerouac, Ginsberg, Burroughs, tous ca. Maintenant je la fait une derniere fois, la prochaine fois c’est Herbert Huncke, tout seul.

Alright!

[Off mic] Okay, well let me just say first before we start, all, what has happened this evening [unintelligible] a hard act to follow [unintelligible].

Oh well, alright, in the mic he says. [On mic] Okay, can you hear now? Yes. See I have a problem with this lighting situation here, regardless of all that. I lost my place. How do you like that?

You have to talk into the mic.

I will in just a minute. Some people can hear me though.

Are you satisfied now? Okay. I really wanna start off with one particular story here because I feel that it will fit into the general theme of the so-called gathering or festival whatever, group of creative people doing things, trying to do things, young people. It’s very very encouraging for an old man like me, you know I want to think that things have progressed [laughs] a little. Boy.

Well, here, I wasn’t gonna read this one, but I will. I’ll start anyway so everything is under control. It’s called "Cuba". It’s a rather strange story in that the individual involved was someone I met and felt somewhat sorry for if I may be permitted to feel sorry about anybody.

Reads "Cuba" from The Evening Sun Turned Crimson [brief moments of laughter throughout].

Sorry, it’s not the one I want, oh I can’t do it now [unintelligible].

[Off mice] Thank you. [On mic] Let me see if I can find the one I intended to start out with. "Alvarez". One, let’s see, one fifty one, okay, we’ll get there, hell or high water [laughs], ah, there [laughs]. This is a, I feel it’s a very, very sad story mysel - woops. "Alvarez".

Reads "Alvarez" from The Evening Sun Turned Crimson.

Continues reading.

Okay.

Kay.

[Unintelligible].

Well wait a minute. Okay [over top of audience applause and cheers].

You want a rest period, no?

No.

Yeah.

Not really [laughs]. I’m a ham.

[Off mic] I’d like to find something just for [unintelligible].

[Unintelligible].

Anyway.

Muffled speech.

Reads "Russian Blackie" from The Evening Sun Turned Crimson [muffled audience chatter throughout].

No, it’s alright, if they wanna talk, let ‘em.

Continues reading.

Boy, I can’t see worth a damn anymore.

Continues reading.

Somebody bored?

No.

Some people can’t understand it.

It’s alright, if they’re bored they’re bored.

Laughs.

Shut up.

Continues reading.

Au nom de tous les participants il faudrait remercier et feliciter les organisateurs d’Ultimatum, Alan Lorde et Jo Designs et merci a tous les partic [recording cuts out].

Performs "Poesie Guerriere", vocalizes, sings and recites text [French] atop recorded buzzing sound.

Smashes mirror.

[Unintelligible].

Cheers.

Continues "Poesie Guerriere", recites poem [French] atop ambient chords, electronic instruments, various electronic musical sounds, guitar, drums, distorted vocals, regular vocals and various recorded sounds.

Continues "Poesie Guerriere", sings [French] atop guitar, drums, electronic instrument, and regular vocals.

Continues "Poesie Guerriere", recites poem [French] atop guitar, drums, electronic instrument, regular vocals, distorted vocals, distorted speech.

Continues "Poesie Guerriere", sings [French], music shifts, regular vocals and distorted vocals.

Continues "Poesie Guerriere", recites poem [French], music shifts, recorded speech and electronic sounds.

Continues "Poesie Guerriere", recites poem [French] atop electric guitar, drums, and melodic buzzing sound.

Continues "Poesie Guerriere", recites poem atop keyboard and marching percussion.

Performs sound piece [mixture of live and recorded sounds: slamming, off-beat clapping, barking, laughter, human voices, stomping, mouth sounds, tapping, crackling].

Performs sound piece [vocalizes][microphone feedback throughout].

Performs sound piece [trickling sound].

Continues sound piece [mouth sounds, microphone feedback].

Resumes sound piece [tapping and clapping sounds].

Resumes sound piece [mouth sounds][left ear, right ear].

Continues sound piece.

Continues sound piece.

Performs sound piece [accompanied by recorded sounds: computer noises, baby crying, humming, gurgling, horn, high pitched gibberish].

Resumes sound piece.

Performs sound piece [accompanied by recorded sounds: whispering, gurgling, metallic grinding, bird calls, human voices].

Continues sound piece [accompanied by recorded sounds: whispering, gurgling, metallic grinding, bird calls, human voices].

Continues sound piece [shouting].

Performs sound piece [metallic trinkle sounds].

Coughing.

Continues sound piece [accompanied by recorded sounds:chugging, lasers].

Continues sound piece [louder, whispering].

Fades out sound piece, sound quality more distant.

Bon, Bon soooooooooooir [modulation], bon soir! [left ear] En attendan the John Giorno baaaaaaaand [echo: baaaand][right ear].

Pendent que les techniciens vont defiler le renfilage et vice versa [echo], on va visioner le film de Napoleon Moffat qui s’appelle Framed-d. Qui est originalement un super huite qui a ete transfer a trois–three quarter inch, trois quarts video. C’est un film excellent pis un des meilleures… Pour cinq minutes vous avez le poesie visuel plein de geule, okay? [left ear bias, right ear echo].

Napoleon Moffat’s "Framed" starts [piano music].

Film continues [speech: There are spaces that live within us. Spaces which occupy the frame. The transparency of their names. A terrible tragedy that haunts their walls. The revelation of their fiction. Of something which might of happened but that never really occurred].

Film continues [piano music].

Performs "(Last Night) I Gambled With My Anger And Lost", instrumental intro [drums, electric guitar, bass, synth].

Continues piece, John Giorno recites poetry [English] over top of the music.

Continues piece, instrumental [synth, bass, electric drums].

Continues piece, recitation resumes.

Continues piece, instrumental [guitar, electric drums, synth].

Continues piece, recitation resumes.

Continues piece, instrumental [synth, bass, electric drums].

Continues piece, recitation resumes.

Continues piece, instrumental [bass, guitar, synth, electric drums].

Continues piece, recitation resumes.

Continues piece, instrumental [electric drums, electric guitar, synth].

Synth notes ring out.

Performs piece [John Giorno recites poetry over top of electric drums and gravelly electronic sound].

Continues piece, instrumental [electric drums, gravelly electronic sound, bass].

Continues piece, recitation resumes.

Continues piece, instrumental [electric guitar, electric drums, bass, gravelly electronic sound].

Continues piece, recitation resumes.

Continues piece, instrumental [synth, bass, electric drums].

Continues piece, recitation resumes.

Continues piece, instrumental [synth, bass, electric drums].

Continues piece, recitation resumes.

Bass note rings out.

Guitar, bass, and drums sounds ring out.

Bass note rings out.

Bass note rings out.

Bass note rings out.

Cymbal crash.

Electronic sounds.

Performs "Stretching it Wider" [John Giorno recites poetry over top of electric guitar, bass, and percussion].

Continues piece, instrumental [electric guitar, bass, and percussion].

Continues piece, recitation resumes.

Continues piece, instrumental [synth, bass, percussion, electronic sounds].

Continues piece, recitation resumes.

Continues piece, instrumental [synth, bass, percussion, electric guitar, electronic sounds].

Continues piece, recitation resumes.

Continues piece, instrumental [guitar, synth, percussion, bass].

Continues piece, recitation resumes.

Continues piece, instrumental [synth, percussion, electronic sounds, bass].

Continues piece, recitation resumes.

Okay. This is a poem called "Life is a Killer".

Recites "Life is a Killer".

Laughs.

Continues recitation.

Thank you.

Synth notes ring out..

Tell me when you're ready.

Percussive sound rings out.

Percussive sound.

Percussive sound.

Guitar chord rings out, echoes and becomes distorted.

Percussive sounds.

Reverberant bass note rings out.

Guitar slide.

Percussive sounds.

Performs piece, instrumental intro [distorted reverberant electric guitar].

Continues piece, John Giorno recites poetry [English] over top of the music.

Continues piece, music shifts [synth added].

Continues piece [recitation, synth, electric guitar, electric drums, electronic sounds].

Continues piece, instrumental.

Continues piece, recitation resumes, music shifts [electronic percussion and synth].

Continues piece, music shifts [vocal stings] [recitation continues].

Continues piece, music shifts [synth and percussion only] [recitation continues].

Continues piece, music shifts [electric guitar only] [recitation continues].

Continues piece, music shifts [synth only] [recitation continues].

Continues piece, instrumental [synth and electric guitar].

Percussive sound.

Percussive sound.

Percussive sounds.

Electronic keyboard sounds, bass, and electric guitar notes ring out.

Percussive sound.

Percussive sound.

Performs piece, instrumental intro [electronic percussion, synth, electric guitar, electronic keyboard, electronic sounds, bass].

Continues piece, John Giorno recites poetry [English] over top of the music.

Continues piece, instrumental.

Continues piece, recitation resumes.

Continues piece, instrumental.

Continues piece, recitation resumes.

Continues piece, music shifts [volume fades then comes back in] [recitation continues].

Continues piece.

Continues piece, instrumental [guitar solo].

Continues piece, recitation resumes.

Continues piece, music shifts [synth only] [recitation continues].

Percussive sounds.

Electric guitar chords rings out.

Percussive sounds.

Guitar slide.

Electric guitar lick rings out.

Ok, uh, next I'm gonna introduce the band, our band leader and composer [electric guitar lick] and the guy who holds it all together is CP Roth.

And on guitar is Adam Roth.

Electronic sounds.

And on bass, Dave Conrad.

And on drums, Mike Osborne.

Yay!

Synth notes ring out.

Electric guitar notes ring out.

Guitar, synth, and drum sounds ring out.

Thank you.

Guitar chord rings out.

Dry guitar slide.

Performs "Scum and Slime", instrumental intro [electric guitar, synth, bass, electronic percussion].

Continues piece, John Giorno recites poetry [English] over top of the music.

Continues piece, music shifts [recorded vocals echo recitation].

Continues piece, instrumental [electric guitar, synth, bass, electronic percussion, electronic sounds].

Continues piece, recitation resumes.

Continues piece, music shifts [recorded vocals echo recitation].

Continues piece, instrumental [electric guitar, synth, bass, electronic percussion, electronic sounds].

Continues piece, recitation resumes.

Continues piece, instrumental [electronic chimes, electric guitar, bass, synth, electronic percussion].

Continues piece, recitation resumes.

Drums.

Drum roll here.

So ha - [cut off by drums].

Performs piece, instrumental intro [drums, shouting, unintelligible voices].

Continues piece, music shifts [electric guitar, synth, drums].

Continues piece, John Giorno recites poetry [English] over top of the music.

Continues piece, instrumental.

Continues piece, recitation resumes.

Continues piece, instrumental.

Continues piece, recitation resumes.

Continues piece, music shifts [drums only] [recitation continues].

Continues piece, instrumental [electric guitar, synth, percussion].

Continues piece, recitation resumes, music shifts [synth only].

Continues piece, music cuts out [recitation only].

Continues piece, music resumes, instrumental [synth and electric guitar].

Continues piece, recitation resumes.

Continues piece, music shifts [drums added] [recitation continues].

Continues piece, instrumental [drums, synth, and electric guitar].

John Giorno Band [left audio only].

We had 'em last November, we got 'em now, and we're gonna get 'em back again.

Let's let him rest now and -

Uh, in a few minutes we'll have a very very special guest to wrap up, uh, pour finir Ultimatum cinq jours deja passe puis, uh, on a garde, uh, quelque chose de tres speciale pour la fin.

Exclaims [unintelligible].

On a garde uh, quelque chose de tres speciale pour la fin [off mic].

Laughs.

T'as oublie tes lunettes, Pauline.

Oh ben, ca va qu’un extrait, oh ben je [unintelligible].

Ca va etre un extrait de Maitresse-Cherokees qui est mon livre qui sort chez VLB.

J’ai melange mes feuilles mais ce n’est pas tellement l’importance.

Mois j’suis un peu plus grande que Pauline.

[inaudible extrapoetic speech].

Aye Marie il n’y a pas des feuilles dans mon [unintelligible]?

[Laughter] non.

C’est bien gentille [laughter].

Laughs.

Ben voici ca c’est un texte qui s’appelle Maitresse-Cherokees, VLB editeurs. Pis la ben il faut que j’attaque la. Tu ma mis ca un peu haut peut etre.

[Unintelligible].

Reads excerpt from Maitresse-Cherokees [French].

Resumes reading.

Resumes reading.

Et c’est la feuille que j’ai perdu la, mais en tout cas.

Laughs.

Resumes reading.

Laughs.

Laughs.

Bon ben, [unintelligible].

Ma [unintelligible].

Je vais prendre du [unintelligible] ca.

[Giggles] Je vais prendre du [unintelligible] ca. Euh, dans ce meme look que VLB editeurs, la. Euh, ca fait deux ans. Mais ma viser par [unintelligible] la.

Reads piece [French].

Oh voyons fait–

Resumes piece.

[unintelligible].

Resumes piece.

Ca va etre tout pour le background.

Merci merci!

En fait, moins de vingt minutes, moi la.

Bravo, bravo.

Begins piece [French].

Laughs.

Reads piece [French].

Resumes piece.

Laughter, [unintelligible].

Giggles.

Resumes piece.

Bon ben je vas lire la derniere page, mais je ne trouve pas page quatre, mais la dernier page est pas pire.

Performs piece [French].

Je recommence.

Restarts, performs piece.

Continues piece.

Continues piece.

Continues piece [English].

Maintenant, uh, Karl Jirgens de la revue Rampike, Toronto.

Le langage de silence et la violence.

Guttural shout.

Guttural shout.

The language of silence is violence.

Clapping sounds.

Hi folks.

Can't hardly see it.

[Off mic]. Thanks for everybody to come out. I've really enjoyed this show so far. Can we get a little bit lower lights here on my face. [Unintelligible]. Thanks, yeah, that's good. Uh. Yeah. Okay.

[On mic]. He said talk in the mic. [Laughs]. Um. Yeah, I'd like to thank Alan Lord and especially Joe. Everybody. Um. I'd like to begin tonight by talking about the pieces that I won't be doing. Uh. That's because there were a lot of well-intentioned people who wanted to make it out here tonight but they couldn't make it so I'm dedicating this to them. Can we have the lights here in the centre, is that possible? Okay. Don't worry about it. Actually, uh, I was gonna do a poem called "Le Moncole de Mon Oncle", but uh, I think that's been done by somebody. Uh, I was gonna do a zen piece called "My Karma Ran Over Your Dogma".

And maybe a, maybe a rap piece 'cause I hear rap is popular though I haven't heard any in Montreal yet. It's called uh, it's got a long title: "He Was a Winnebago Dego Living Down in Tobego Eatin' a Tomato, Big Fat Tomato, it Was a Deglo Winnebego in the Bushes of Tobego". Like, the title's almost as long as the piece but [coughs]. Then I was gonna do a, I heard Sylvere's here so I thought maybe what would be appropriate would be a social realist piece, you know so I have one called "He Got a Temporary Permanent Job at Permanent Trust But He Really Wanted a Permanent Temporary Job at the Dairy Queen".

And uh, I was gonna do a piece called "Address to America". It's actually a triple pun, it's 'address' as in US mail or 'a dress' as in US female or 'address' as in I'm talking to you.

Starts reciting "Address to America" [English].

But I won't do that either because -

you've prob'ly heard that.

So instead, I'm gonna tell you about an insane friend of mine. He's, how you say, cuckoo?