Chicago 2001 : 9/11 Part 1 “The Attack on America Tour”

There have been several points in my life where I’ve met people and immediately known the moment I set eyes on them that we are going to have a major impact on each other’s lives. It’s a bit like the concept of a Karass or Granfalloon in Kurt Vonnegut’s novel Cat’s Cradle – but I couldn’t say decisively which one. It has always been unequivocally mutual: me and these people might not end up wanting the exact same things at every stage of our often brief associations but we absolutely experience the same sense of gravity. It generally manifests as attraction of some nature but at its core it feels like some personification of The Universe or Fate has placed tiny statues of us on the same chessboard for some hidden purpose.

The later iterations of this phenomenon manifested in the company of specific and detailed instincts. A silent voice from somewhere deep inside me offered a general warning against allowing things to move in a romantic or sexual direction. It never really made too much of a difference as I’m not really the type to exercise caution in matters of the heart but at least I had some kind of warning that I shouldn’t expect any happy endings. This first time I was running blind and for better or worse I ended up with the only boyfriend of my life.

Jordan was soft spoken and had dark eyebrows with matching close cropped hair. There was a single mole on his face and his brown eyes looked sensitive and innocent. He was a basic type of small town indie rock boy I see all the time but I’m not sure if I did a good enough job of describing it. Think plaid flannel shirts and long silences that are made to appear thoughtful but actually represent not knowing what to say. A faint smile the moment that the warming effects of alcohol begin to take hold and smooth away some of the anxieties that keep him interacting with the world as a spectator.

I met Jordan at a house full of good looking normie skater stoner boys that went to The School of the Art Institute of Chicago. He had been working as a baker and wasn’t quite the same type as all of the other guys he’d been living with. He was a couple years younger than me but I didn’t think about that as much as I probably should have. I was young myself, only just twenty one for less than even a month. I looked across the room and our eyes met and then it was already too late to change anything.

I talked to him about my theory of “urban shamanism” – the idea that overdosing on cough medicine created the same kind of synergy with a modern city environment that ethnobotanical drugs presented to the mountains and forests of Stone Age level traditional cultures. He must have liked the way I made it sound because I ended up shoplifting a couple of boxes of Coricidin for us from the closest Walgreen’s. It would be my final baile with the blister packs – the mere sight of the tiny red pills would come to induce uncontrollable waves of nausea after this encounter had devolved into the resulting wreckage.

A DXM trip presents in stages. The first part is giddy with the general visual and auditory trappings of the more traditional psychedelics. We wandered into the simply named Occult Bookstore in Wicker Park and I scoured the shelves for a particular grimoire so obscure it probably didn’t even exist. At the Fireside Bowl I convinced Brian Peterson to let us spend a few minutes roaming around a concert I can’t even remember the genre of let alone who was playing.

We ended up back in Jordan’s basement room which was full of quilts and nice wooden furniture – it looked like the way I imagined the inside of Big Pink from the famous Bob Dylan record. The DXM trip was shifting into what I always referred to as the “featherweight ballerina” phase. Normally it made me feel light on my feet and somewhat otherworldly like I was living in an antique photograph. This particular time there were some unprecedented side effects.

The best way I know how to explain it is that the barriers that generally separate one human consciousness from another were suddenly and unceremoniously ripped away. Jordan and I seemed to be psychically connected and concepts like secrets, disagreements or even personal property had simply dissolved in the light of our intense and urgent newfound connection. As we stared into each other’s eyes I screamed out in frustration at a world of stories that had unforgivably neglected to explore the depths and contours of this new and unprecedented experience:

I hate every movie ever made!”

When we were finally able to fall asleep we shared his bed but had to separate our gangly frames – any physical contact felt like an electrical shock. This might sound like the kind of thing we would want to explore or experiment with but we actually recoiled from it. We held hands when walking after that but such was the full extent of our carnal relationship. We never once kissed or otherwise pursued the sexual or even romantic side of things. Writing this now I realize it sounds like we were actually friends but we weren’t. We were together, we were a couple. I mean we were kids with no idea what was happening but I’ve been married for ten years now and for the short time that Jordan and I were entangled it fundamentally felt the same.

I didn’t have a cell phone back then, I had never been in the habit of listening to the radio and I didn’t turn on televisions. The next morning was September 11th, Jordan had left at the crack of dawn to make bread so I went over to Dave, Meg and Vanessa’s Ukrainian Village apartment to get a couple more hours of sleep before I had to be at my Italian Cafe job. I woke up and the place was empty so I decided to walk over to the house full of hardcore boys that had played against El Rancho in the Softball Game. I think they called it The Midtown Chess Club.

As I made my way up a side street the neighborhood was particularly animated. Everybody was sitting out on their stoops and balconies and calling back and forth about “when the plane hit the building” and if everybody saw it or not. I figured that one of the Die Hard movies or something similar was playing on a local network television station and people were just excited to get a break from the soaps and talk shows.

I walked into the house and a TV was just on and tuned into the news. Everywhere I went for the next couple of days a TV would be playing like that – just going over the same things over and over until the News Anchors started to look sleep deprived but they just kept going. I saw the smoking tower and that it was news and it was real and America was under attack. Aaron Hahn and Sean Rafferty and whoever else came back into the room and silently stood there and watched it with me.

Somebody was supposed to be going to College but they found out it was closed. There was this irrational fear that any public gathering of two or more people would be targeted in another attack. People thought this in every small town across America that day and we were in Chicago – one of the biggest cities. I figured that I wasn’t going to be going to work.

Jordan and I had talked about the fact that I had been intravenously using heroin and cocaine and had decided that I should stop for a while. I hadn’t been doing it every day or anything like that but it did seem like a good time for a break. Then September 11th happened and I wanted to do something – anything – that felt familiar and normal and that was getting high. I took West Chicago Avenue under the Metra tracks and when I passed the Aldi by Kedzie I was in the zone. The whole city had shut down but the corners were business as usual.

I figured that Jordan was back from work early and I went over to his house. I told him that I’d gotten high but it wasn’t a big deal or anything. The TV was on and his roommates were smoking weed and making really stupid jokes about how the smoking ruins of the buildings were actually giant smoke sessions. Jordan and I decided that we should get out of town for a few days and made plans to take a train to Holland, Michigan and visit his parents for a little while.

There was a noise show I wanted to see at The Fireside that night. Thirteen noise artists were touring together in an RV and trying to play back to back 5 minute sets in the shortest possible amount of time. It was called Phi Phenomena on Wheels. It was actually a great lineup – there were really cool sets from Ortho and oVo and Temple of Bon Matin. Jordan didn’t like the energy and went home early. I forget who was up first but I remember the first thing that was said into the microphone:

This is the “Attack on America” Tour!”

In the constantly escalating transgressive world of Experimental Noise Music there’s no such thing as “too soon”.

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Providence 2000 : Fort Thunder Part 1 “A Millennial Mecca”

The dense walls of trees on either side of the highway had been reaching upward and bending inward until they met in a living arch of the darkest green that isn’t black. Beneath this tableaux the road had merged with the cloudless sky in a black tunnel where the stars and lights appeared to be rushing toward me like the voids of space in an interstellar flight simulator video game. Directly ahead of us was a bulky orange shape resembling a futuristic spacecraft that had been designed to mimic a firefly. Every couple of seconds it emitted a crystalline, tinkling sound and released three pairs of flickering wisps in opposing diagonal formations that slowly dissipated into the surrounding air.

Everyone else in the car had fallen asleep. I looked over at my friend Dave who had been quietly driving through the night and smiled.

“It’s beautiful”

Some of my readers will have no doubt guessed, correctly, that this confusing depiction is evidence of my having finally taken leave of the persistent straight edge. An early summer in San Diego had introduced me to the mind altering potential of several over the counter drugs and the boredom of a lengthy road trip had caused me to stretch experimentation to excess. Every place we stopped for gas just so happened to be within eyeshot of the welcoming illuminated letters of an all night pharmacy and just shy of my 20th birthday I had become an experienced shoplifter. A truly accurate audit would be impossible due to the ensuing oblivion but I can say with certainty that I had at least ingested a bottle of Dayquil, a tube of Dramamine, a package of ephedrine and multiple packages of Coricidin.

It should go without saying that I do not endorse the consumption of such dangerous quantities of any of these drugs much less all of them together.

It was, without a doubt, the most intense and terrifying psychedelic experience of my life.

With that explanation out of the way it is time to address a matter that should be of even greater interest to many of my readers: our destination. Fort Thunder had been a mysterious name that seemed to manifest on every piece of art that excited me in multiple genres. While experimental music was a more recent love, comic books had been essential for about as long as I could remember. In fact it had frustrated me throughout my adolescence that while peeling back the covers of a Jack Kirby comic book could nearly always reliably transport me to the fantastic worlds there depicted the most exciting record covers led only to mere Rock Music.

Music had finally started to open up in High School. While I happily skanked along with my cohort and followed friends to the odd punk show the most satisfying discoveries came from spelunking the mountains of vinyl in Second Hand Shops and Used Record Stores. My High School’s library had fortunately discarded an obsolete edition of The Trouser Press Guide to New Wave Records and my parent’s garage had offered up a portable turntable called the Disc-O-Kid. With these two totems in tow I never had to be disappointed by misleading cover art again. If a record piqued my interest I could both read about the artist and listen to the actual music before making the final purchase.

As a budding aesthete with next to nothing in the way of pocket money these advantages were indispensable. While most of my favorite discoveries were pulled from unsorted dollar bins one specific entry in my guidebook pushed me to do the unthinkable. The passage on The Residents was so beguiling that I happily parted with an entire twenty dollars for the chance to bring home a record I hadn’t even listened to.

I have written elsewhere about the midnight cities of my dreams, geometry defying vistas pulled subconsciously from Dr. Seuss and The Cabinet of Dr. Caligari. From the moment I set eyes on The Tunes of Two Cities the cover art by Poor Know Graphics looked like it had been pulled directly from these landscapes. Back in my bedroom the impossible happened, the music also sounded like it had been pulled from an untouchable nightmare. Disinterested fatuous cocktail jazz traded tracks with the terrified cries of subterranean synthesizers until the disparate styles somehow absorbed and synthesized one another.

Back in the world of comic books I had abandoned the colorful ecosystem of ‘80s Marvel for the offerings of DC’s “mature audiences” Vertigo line. Eventually this curated content began to feel passé and I dove into the world of Black & White Independents, often once again in unsorted dollar bins. By 1999 the only thing I really liked was Jon Lewis’s Ghost Ship and Spectacles. One day I walked into a comic shop and my eye caught a tiny screen printed mini called Bolol Belittle. Mat Brinkman’s wordless pages of tiny creatures crawling through an uncaring world ignited that same feeling of somehow staring into a waking dream.

On the music front I had discovered a Japanese inflected twee-pop scene centered around the San Francisco State University Student Union. The Monotract concert back in Chicago had also introduced me to a Champaign, Illinois project called Busytoby that in turn led to a synth duo called Mathlete and In a Lighthouse Cassettes, the first of many tape labels. Soon I was making diverse orders from The Blackbean and Placenta Tape Club while a holiday trip to San Diego had brought home a new housemate, Lil Four, whose tastes tended more toward “extreme” and “hard” music. I happened to read the Load Records insert on a Men’s Recovery Project album and was captivated by the description of a band called Lightning Bolt.

Fast forward through dropping out of college, a year in Chicago and my concert with Deerhoof and I was back in San Diego for the first half of a Summer. Frequent visits to The Fireside Bowl had resulted in the unnatural luck of catching the 1999 Japanese New Music Festival and a set from Ruins. Newly obsessed with stripped down bass and drum duos I started collecting albums from godheadSilo. Then a flip through a 50 cent bin of Seven Inches at the Hillcrest location of Off The Record turned up a familiar name: the Lightning Bolt/Forcefield split.

This tiny record had everything. The raw, frenzied sounds of drums and bass swimming through waves of distorted static with tortured, guttural vocals. Forcefield’s pod of scurrying synthesizers hearkening back to the distant dimensions of The Residents. A tactile screen printed cover that looked and felt like my new favorite mini comics.

I had the type of vintage cabinet record player that automatically cued up the edge of a preloaded record the moment it was powered on. All summer long the light switch in my bedroom fired up the Lightning Bolt side of the single and looped it until I went out again.

I couldn’t get enough of it.

At San Diego Comic Con I hunted for more of Mat Brinkman’s minis but everybody was buzzing about this older comp called the Coober Skeber Marvel Benefit Issue. I was blown away by the winding, claustrophobic panels of Brian Chippendale’s ink heavy Daredevil tribute. Somewhere deep in a copy of The Comic’s Journal I read the phrase “Fort Thunder Attack Flotilla” and realized the first half sounded familiar.

I realized that the exact same people who made my favorite new music in the world were making my favorite new comic books in the world. It all came from the same place and that place had a name and that name sounded exciting.

Flipping through a friend’s copy of The Beastie Boys’ Grand Royal magazine I found a blurb about costumed wrestling matches and apocalyptic welded bike gangs. All that stuff was happening at Fort Thunder too. On a very early version of a new thing called the internet I discovered that Fort Thunder had a website and that website had a phone number.

I decided to just call it up and ask if I could come live there and somebody (it turned out to be Jim Drain) picked up the phone on the other end and said one of the most powerful words I had ever heard in my life:

“Yes”

I was going to quite literally make a pilgrimage to the seat of the beating heart of my generation’s American Underground.

I was going to Fort Thunder.

Next part here:

https://zerstyrschonheit.home.blog/2022/11/12/providence-2000-fort-thunder-part-2-no-soap/

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Providence 2000 : Fort Thunder Part 6 “Bread and Circuses; Friends and Monsters”

I can’t remember the exact dates but I think I was at the Fort for the last 3 weeks of August. I think I remember a quote from Mat Brinkman a few years later about how the people interested in comix were generally far less enthusiastic about noise bands and vice versa. While this is no doubt generally true I can say with absolute certainty that the Venn Diagram had at least a small sliver of overlap.

I lived there.

Being in Providence offered many opportunities to examine and collect artifacts from both of these circles. However while the comic book can be said to be most alive in the physical object the music side of things reached an apogee in the fleeting temporal spectacle called performance. I had heard stories about the legendary 1997 concert where Dan from Landed had set himself on fire and FORCEFIELD had basted the audience in the deadly vapors of an idling moped.

To me this legend was as vital as the infamous murders and church burnings surrounding the early ‘90s Norwegian Black Metal scene. Much like the celebrated happenings where John Cage gave recitals on burning pianos the artist on heroic quest to explore the boundaries of creation inevitably explored the dissident and iconoclastic power of destruction. Performances like the one I just described marked the geometrical asymptotes of this destructive impulse, briefly glimpsed through the Overton Window of the passing vehicle of convention.

While Fort Thunder was absolutely buzzing with the energies of creation my visit barely coincided with the species of bacchanal I was hoping to participate in. While Brian Chippendale returned toward the end of my holiday Lightning Bolt was on effective hiatus while Brian Gibson was attempting to relocate to NYC. Chippendale graciously allowed me to sate my prodigious appetite on his claustrophobic comic diaries but a home field repeat of the live set I had barely caught in Los Angeles was not forthcoming. Similarly while Dan St. Jacques was briefly present in all his gorilla chested glory I would not be catching any sets from Landed or the raucous Olneyville Sound System.

I visited Ben McOsker at the crowded apartment home of essential Providence imprint Load Records. He offered me a bulk rate on all the records I wanted and I filled the holes in my collection while discovering some new favorites. Astoveboat would become the soundtrack to a hazy few weeks in the following summer when I read Moby Dick, took meth and angrily fantasized about killing Gods and whales. He told me to grab the Scissorgirls 10 inch but I declined. He told me I’d regret it.

He was right.

I was making a mistake that was prevalent in the experimental music circles of the day. I failed to appreciate the creative powers of the feminine. In the years to come nearly all of my musical collaborations would be with women but at this point I was still young and stupid.

Raphael Lyon was filling the unenviable yet essential stations of House Mom and spokesperson but it was Leif Goldberg who most graciously took me under his wing. I remember spending hours in his room while he showed me screen printed comics, impressive flip books and an experimental film made from cross sections of colorful marbled clay. The creativity in the air was infectious; I spent days at Jim Drain’s desk making assorted items of construction paper collage: an unfortunately never finished wordless comic about a fantasy wizard, a copy of a He-Man tableaux as a gift for Drain and black and white prehistoric scenes in the vein of Mary Fleener that made it into the following issue of Paper Rodeo, albeit out of order. [author’s note: if anybody might have a copy of this issue and could send an image I’d be most grateful. It was the Fall 2000 issue with the Ben Jones cover. The piece is reproduced quite small and features skeletal apes and dinosaurs]

Goldberg showed me around the screen printing studio while he put together an impressive issue of the Monster anthology and posters for an upcoming Fort Thunder concert to be held on the eve of my 20th birthday. He took me on his bike rides to wheat paste these posters around town which came in extremely handy when it was time for me to put up flyers for the upcoming xbxrx concert I had ended up organizing. I practiced on the roof with a green and blue toy guitar with preloaded rhythms and chords produced by plucking tiny metal wires but somehow never got up the gumption to ask if I could jump the bill.

I had no problem asking complete strangers if I could cross the country and live in their home but struck a hidden vein of adolescent shyness when it was time to ask to perform inside of it.

Show Night finally came around and I got to see the Fort come to life in concert mode. Peter Fuller set up an espresso stand that I later donated the bottles from my raft to and shipped a kilo of Italian beans when I started working for a Sicilian sociopath in Chicago. The show was opened by Duct Tape Union and another project I seem to have forgotten the name of. Colin Langenus from USAISAMONSTER had been obliviously sleeping until minutes before their set then quickly brushed his teeth and took the stage, earning him the affectionate nickname Sleepy Tooth. While their live set was amazing the truly life changing consequence of meeting this band was an initiation into the illicit fellowship of the counterfeit Greyhound Ameripass.

They also introduced me to my aforementioned friend from Benefit Street who would become a lingering crush for the remainder of my visit and several years to follow.

Finally the crowd was ushered into an alley behind the building for a last performance. Friends Forever offered the exact type of heretical live show I had been so fervently pining for. They were my first introduction to what I would call the “extreme noise tour lifestyle”, shunning brick and mortar venues to blast their infectious tunes from the inside of their actual tour van and accentuated with smoke machines, lasers and fireworks. I danced with abandon as the midnight hour ushered in my 20’s. Nate Hayden and I bonded over a shared enthusiasm for Coricidin and he gave me a cassette of recordings he had created under this unhealthy influence: Wizard 333. One of the tracks was entitled Fungi from Yuggoth which boosted my enthusiasm substantially.

While my floating exploits on the Woonasquatucket were still to come this night was undoubtedly the climax of my days at Fort Thunder. Much like the 1998 The Makeup concert of the introductory chapter this night felt like an initiation ceremony in which I was inducted into the secret society of the Underground. Big changes were on the horizon as I left my teenage self behind and began the adventure of adulthood. In a little more than a year Fort Thunder would become a memory and the naive innocence of ‘90s subculture would be forever shattered on a day called 9/11

The night before my departure brought a rare instance of the type of fellowship that is only brought about by shared consumption of alcohol. While I had spent the entire summer exploring the psychedelic potential of various over-the-counter medications I could count my experiences with alcoholic inebriation on a single hand. I drank the entire bottle of Brass Monkey that had been gifted to me during my maiden voyage and became embarrassingly drunk.

Dan St Jacques was front and center for this excursion in his trademark straw hat that looked like it had been stolen from a donkey. A rag tag crew on tall bikes, choppers and other monstrosities set out to explore the city and raid a popular bread dumpster. I fell on my head, cursed St. Jacques for snagging the only olive loaf and generally made a fool of myself until it was time to climb into Jim Drain’s bed for the final time.

I woke early the next morning and left a note for my absent host, contributed a pittance toward his outstanding rent debt and trudged across Federal Hill for the final time until I reached my bus to Chicago.

I spent the next twenty years hunting for regional undergrounds with the same type of creative Zeitgeist as Fort Thunder and turn of the century Providence. I lived in Chicago, Oakland, Los Angeles, Tijuana, Portland, New Orleans and San Diego. I visited Baltimore, NYC, Philadelphia, Berlin, Oslo, Panama, rural Maine and countless others. While every one of these destinations pulsed with currents of authentic underground energy the closest I would ever feel to my days at the Fort would be my time on a fleet of junk rafts, touring on a city bus turned concert venue and participating in a small but magical occurrence known as the Mojave Rave.

I dedicate these stories to the one’s who were there but more importantly to the kids who would never have the opportunity. For all the ones who only heard the name Fort Thunder in reverent whispers when it had already become as unreachable as Avalon or Tir Na Nog I humbly hold out my hand.

Climb into my eyes, my ears and my memories; I’ll take you on an adventure to a magical world that lives on forever in the eternal optimism of youth,

a place called Fort Thunder

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