“Debuting Friday, September 18th 2020 The 1-800-Funk-Sauce.com Show Runtime: 11.5 minutes It’s an animated “late night” talk show!“
WARNING:1-800-FUNK-SAUCE is not a working number!
Do not call it, expecting any kind of an answer! I do not know what would happen if somebody actually picked up that phone, but I suspect you’d be worse off than if they hadn’t.
“With new episodes appearing on www.1-800-Funk-Sauce.com every Friday night, starting 9/18, The 1-800-Funk-Sauce.com Show will feature interviews with guests from all walks of life, musical performances from bands from all over the country/world, and various other adult comedy elements. The pilot episode will feature an interview with Malcolm J. Brenner and his former lover, Dolly the dolphin, to discuss their love affair. Musical guest Billy Summer will perform afterwards. “Find your comfortable spot, relax, get into the zone, and tune into The 1-800-Funk-Sauce.com Show, on Fridays starting on 9/18, on 1-800-Funk-Sauce.com.” — Press Release, Joe Seul
Let me explain. Joe Seul is a good guy I met through a bad public-relations contact. At the time, about mid-2017, he was a New College student majoring in music who proved very friendly and helpful in getting the audio book of Mel-Khyor: An Interstellar Affair ready for publication by equalizing the sound and adding a little reverb to my flat, nasal voice, so I sound less like Boris Karloff and more like Morgan Freeman. And it worked out really well, so I was grateful to him, because he didn’t ask for any payment.
“What a swell guy!” I thought. Little did I know what EVIL lurks in the hearts of men!
Well, a couple of years went by when I didn’t hear a lot from Joe. He finished up his work at New College, moved out of the roach-infested hovel that passed for off-campus student housing there and upward and onward to better things in St. Petersburg (the Florida one, not the one in Russia, you know). And then came The Great Covid-19 Lockdown of 2020, and, like a lot of musicians, poor Joe didn’t know what to do with himself.
Not having anybody to jam with drove young Joe nearly insane (am I hitting too hard on this, Joe?) and he began experimenting with new programs, new apps. One of them, he told me, was a rudimentary computer graphics app that allowed him to make 3D animation that looked like an Amiga game in 1990, only not quite that good.
And then, like the skilled lurker, he is, he sprang the question: “I’m using it to do a short interview podcast, a different topic each week and some music, and I’d like you to be the first guest. What do you say?”
What could I say? Joe had me eating out of the palm of his paw, er, hand. I agreed, and since I haven’t had much success lately giving a recording of an interview that’s worth listening to, I was glad hear it would be recorded on regular old cell phone (I’m sure I’ll be able to get that Blue Yeti from my daughter to work right the next time).
It was late on a July afternoon, I think, when the westering sun shines into the house and the central AC struggles to keep it at 83ºF/28ºC against the greater heat outside, but I turned the fan off so the background noise wouldn’t interfere with Joe’s recording. A little hasty, I called him up, but there was some glitch and he called me back a little after 5 p.m.
There were a lot of things I want to talk about. The two other books I’ve written. My telepathic experiences with Dolly, which ended up on the floor of the Dolphin Lover cutting room (except these days they’d be taking up space in your Trash). My thoughts about the venerable age of the bottlenose dolphin species, 12 million years as compared to our +/- 250,000 years. What that means to the evolution of their sonic communications. How their predictive theory of mind abilities, which let them second-guess other dolphins and ourselves, evolved. And so on.
But Joe just launched right in. After a brief introduction, he said “Tell me what happened with you and Dolly at Floridaland.”
Ya know, Joe, it’s like this: You have an extraordinary experience, and you decide to let others know about it, so you spend 37 years writing, editing, printingand publishing a book about it so you won’t have to repeat it over and over and over. And then you go to distribute the book, and what do interviewers ask you?
“Tell me what happened!”
But, gentle reader, I didn’t do that. Instead I sat back and I spent the next little while telling Joe the story of my experience with Dolly, but this time trying to work in as much of my non-dolphin experience, and recent conclusions regarding us, the dolphins and whatever the fuck causes the UFOs as I could while still threading back to the occasional sweaty-palms narrative.
Forty-five heatstroked minutes later, Joe finished up by asking a few questions. “How did you get consent from the dolphin?” was the one I remember.
I didn’t give him my flip answer, either, which is “When was the last time you got a pig’s consent to turn it into a ham sandwich?” That’s flip because most of us do it without giving it a second thought, and also because it begs the question, Why is getting consent from a non-human partner only important when the human’s sexual pleasure is involved?
Because, not to put too fine a point on it, animals are chattel under most laws, and I can do what I want with chattel, provided if it’s an animal covered under the law (I don’t think many of us are going to lose a lot of sleep about the fates of mosquitoes, bedbugs or fire ants) I treat it humanely, even to the point of killing it humanely. And the law spells out how you do this.
I can breed that animal to another animal that may not be its natural choice, and I can, if necessary, hobble an unwilling female animal so that she cannot injure an unwanted male who rapes her. So it’s not whether the female animal (and, BTW, I submit that, in the eyes of the public, ONLY female animals can be the true “victims” of a bestialist) is enjoying it, or really even whether her body is her own, she is going to be used by her owner as a reproductive vehicle! The choice of a mate isn’t hers and her owner’s interest in her pleasure from the act can be accurately measured in micro-give-a-shits.
But suddenly, if I want to step in, and, knowing what I know about the animal’s species, characteristics and habits, not harm the animal, not hurt the animal, not even rape the animal, but just have sex with the animal — “normal” interspecies sex, for want of a better term, you know, the old in-and-out — for our mutual pleasure, THAT IS A HORRENDOUS, UNSPEAKABLE “CRIME AGAINST NATURE” AND WE MUST DO EVERYTHING IN OUR POWER TO PREVENT IT, OR PUNISH THE BESTIALIST IF IT HAPPENS!
To which I answer, “Where’s the harm?”
Harm. The concept of injury or damage, usually to someone else. Remember that? HARM? In Harm’s Way, famous WWII book & movie? “Evidence of harm,” legal concept? Self-harm, disturbing behavior? Armie Hammer, star of the disastrous 2013 Lone Ranger remake?
But I digress.
Joe did ask one memorable question, which was “How did you get consent from her?”
To which I answered, “Are you kidding? She had to get consent from me!”Which is true, and she spent most of the preceding five months figuring out how to do it! Was there a need to elaborate? Maybe another time.
We concluded the interview and Joe went back to his lair for a couple of weeks to edit. Then he sent me an email with a Vimeo address and a password. And what to my wondering eyes should appear…
Idon’t want to spoil it for you, so just let me say that Joe has honored my request to revive Dolly the dolphin in animated form, and chosen to portray us in a highly… COMPROMISED SITUATION.
Let it never be said (by me anyway) that I lack a sense of humor about myself. I acknowledge the many funny actualities in my relationship with Dolly, and point some of them out in the novel, including a photo of her mashing her snout into my would-be girlfriend’s face, while staring straight into the camera. It’s a wonderfully funny picture now, 50 years later, and I’m glad I still have it!
In this regard, let me say that I think Joe has exploited the humorous aspects of my relationship with Dolly in a way that nobody else has done before, and for this I congratulate him! He has also speeded up my voice by about 15-20% to make more of my interview available but doesn’t advise you of this before the interview begins, so I sound a little bit like a lost member of the band Alvin & The Chipmunks, but I mean, hell, Brenner, what do you expect for free? I didn’t really mean to insinuate that Joe was EVIL, just that I was a little… uh… SURPRISED by his… IMAGINATIVE PORTRAIT of myself and the dolphin together, VERY together, in the altogether.
Please check out the 1-800-FUNK-SAUCE.com website starting Friday evening, September 18 and let Joe and me know what you think, if you choose to. Thanks!
Who wrote it? I could tell you, but then I’d have to kill you.
That would leave a mess for somebody else to clean up, and my mother, Josephine Rhodes Brenner, may the Godz rest her troubled soul, didn’t raise me to leave messes for other people.
“You won’t be like these other fucking American men whose mothers picked up after them, oh no, I won’t do that for you! You’ll learn to pick up your clothes and put them away properly folded in the right drawers, and put your toys in the toy box, and you’ll learn to make proper English nurse’s hospital corners on beds, like I used to do, and how to serve me a proper cup of tea…” in her High Yorkshire brogue.
And so it went. I was, I don’t know, maybe 9? In our new house on Ivywood Lane? Maybe a little older. And starting, at last, to separate from her as an independent human being.
But I digress.
Yes, my name, and that of my second wife, are on the document as its authors. However, I cannot authenticate it, because of what happened after that.
And that’s what I can’t tell you. Let’s just say that a divorce covers a multitude of sins, not all of them mine, by any stretch! (Interested parties are referred to my novel Mel-Khyor: An Interstellar Affair, available as a trade paperback on Amazon.com or as an audio book wherever finer audio books are sold.)
Well, we did write this together, Mrs. Brenner #2 (she never actually bothered to change her last name, and at the time I believed her when she said all her fellow professionals were familiar with her under her family name). I think her contributions were substantial, but I don’t know where she is, as she has not bothered to communicate with me since we received an unexpected but welcome repayment from the State of New Mexico, which I generously, honestly, split with her.
Just call me Mr. Nice Guy. (Hey, ex, have you paid off the Sears vinyl siding you insisted on getting?)
But my attorneys, the international Sino-Soviet firm of Vydonchya Fukkov and Hop-U Dai, known to many as Fukkov & Dai, have insisted (and charged me a shitload of money) that I publish the following disclaimer:
The opinions expressed below are not necessarily those of the publisher, editor, writer, writer’s lover, writer’s dog, owner of the web site, writer’s landlord or lady, their Overlords, the U.S. Occupying Forces, the Mongols (Gods Bless the Great Khan, opener of the Gates of China!) or any other partner, real or imaginary, as identified by any means now available or hitherto to be discovered, for All of Eternity, throughout All Space And Time, (not counting Dr. Who’s T.A.R.D.I.S) in any and all multiverses now or to be discovered by the Hubble or whatever follows it, forever and ever, AMEN!
With that out of the way, I can now reveal THE DOCUMENT. Please, for God’s sake, don’t let this get beyond this web site! Human lives are at stake! Namely mine! Oh, and by the way – the punchline is the last two pages. “Mary” is Mary Astadourian, Producer Chris Carter’s secretary. The rest is self-explanatory… come on, you can figure it out from THAT, can’t you? What, you want everything in life served to you on a platter? Sheesh!
The first installment in this series dealt with my brief association, in late 1974, with Dr. Richard A. Blasband, a well-known orgonomist, and how I came to be present at a demonstration by Blasband of the “cloud buster,” a device Reich invented originally to remove poisonous nuclear radiation from his Maine laboratory which later turned out to be a boffo weather control machine, capable of making it rain in the Arizona desert (or so Reich said)!
The second installment dealt with the actual circumstances of Blasband’s demonstration and technical details about how I photographed it on Kodak Infrared Ektachrome with Blasband’s top-end Topcon camera and wide-angle lens. What I did not report, at that time, but which I remember distinctly, is thinking I should take photographs with a large amount of sky in them, because if anything was going to appear, it would probably appear there. Given what was recorded on the slides, I find this premonition eerily prescient.
This final installment deals with unpacking the 35mm. slides, my analysis and that by some technical representatives from Eastman Kodak. It also exposes the dreadful fate that befell the original slides, and why we have to work from custom high-quality 4×5″ negatives.
On October 27, 1974 I wrote: We have some very, very interesting things on film!! On the day I photographed, we got some very strange things. On one shot of the orgonomists we have something like this:
Then, when Blasband was busting on Oct. 11 we got some really weird stuff. (The 36 exposure roll of infrared slides was unfinished when I was done shooting, having about 12 shots left on it, and the film being an expensive special order item, I gave the camera to Blasband to finish up the roll and turn it in to Kodak for processing. Why I don’t think he messed with the film will be explained later on.) I don’t know who was taking the photos – we got some strange, ring-like formations in the sky, like this:
We can see, very faintly on projections something like a dome – but the fuckers are transparent, except for the rim lights!! We’re fascinated. In one series a small brilliant red light appears on the ground to the W. when the ring is directly in the CB beam – ring disappears, dot back near CB – ring appears to W. of CB, dot under it!! Don’t think these are lens flares – they’re there on the shots at f16 but not at f5.6. Very odd…
On Thursday, November 28, 1974 I again met with Blasband at his laboratory outside Doylestown, Pa. He operated his cloud buster, and we took more Super 8 movies and 35mm. slides, but this time with a camera borrowed from my friend Bill Hayward and conventional Fujichrome 100 slide film, which I had observed was better at discriminating closely-matched neutral tones than Kodachrome or Ektachrome. There were no results out of the ordinary. The next day, Friday, November 29:
…Then I took the slides over to Kodak (field office) in Ft. Washington and showed them to a Technical Rep named Barry DuBois (that really was his name!). Fortunately he’s very interested in UFOs! – he has good eyes and saw all kind of things in them. He agreed that the strange objects are much too uniform to be defects in the film & lens flare, and suggested we contact one of the UFO organizations such as NICAP (National Investigations Committee on AerialPhenomena), which I guess we’ll do – after I consult Blasband.
These are my last journal notes on the cloud busting demonstrations with Dr. Blasband and the resulting UAPs; I’m not sure the things I photographed are “objects” so much as phenomena. At this point we should look at scans of the original slides, but I have a sorry, stoned confession to make. After showing the slides to the Kodak tech-rep and friends, I tried a couple of times to have them copied with no success; the weird colors of the Infrared Ektachrome defeated the Kodak duplicating film, and the copy slides were either over- or under-exposed. So I put the slides away and didn’t mess much with them until I was running a B&W photo lab in Seattle in the early 1980s.
At that time I edited the slides and had a custom color lab we did business with make 4×5″ inch (10×12.5 cm.) color internegatives from them, including the complete area of the slide to the edges of the mount window. Color negatives offer a greater range of correction than trying to print from color slides, which is notoriously fickle, and the oversize negatives have virtually no grain and capture every bit of the slide’s resolution.
After that, the slides were again put away until the mid-1990s, when I was working as a reporter for a daily newspaper in Gallup, N.M. One assignment brought me in touch with some experienced UFO investigators from MUFON (Mutual UFO Network), and I asked them where I should send the slides to have them computer-scanned and professionally analyzed. “Send them to optical physicist Bruce Maccabee, he’s excellent and will take good care of the originals,” they said. “He really knows his shit.”
But for some reason I do not now recall, I didn’t follow this great advice. Instead, I somehow got Dr. Bruce Maccabee, Ph.D., mixed up with Village Labs’ Jim Dilletoso, a rather notorious person in the UFO community. Notorious for his flakiness and unreliability. And that’s exactly what happened to the slides.
After Dillettoso had received the slides, I didn’t hear from him, so I called. “These are remarkable!” he said. “There’s nothing like them in my database of over 10,000 images! I need more time to study them.”
And that was the last from Jim Dilletoso. The slides disappeared into the gaping maw of Village Labs, AND HAVE NEVER BEEN RETURNED! So much for Mr. Dilletoso; fortunately, we still have the internegatives to study. Let us turn to them. The 4×5″ internegatives were re-photographed with an iPhone camera, then inverted into positives in PhotoShop.
The first photo shows a general overview of the site, with the upper half sky. The cloud buster is out of frame. In the sky are 4 transparent “orbs,” and to the left, behind the power lines, is a bright curved line of light of unknown origin.
The white spots are dust on the internegative, except for the one immediately to the left of the curved line, which is part of the image. This raises two questions:
1) Are the orbs due to lens flare from glare on the chrome of the car, just below the trees on the left side? No. Lens flare due to light sources in the picture is always transposed to the opposite side of the image and inverted; thus, if the orbs were from the glare on the car, they would appear at the extreme right of the image, slightly above the centerline.
2) Is the curved line of light an artifact? No. The Kodak reps checked the surface of the slide, and the curved line is not a scratch in the emulsion or any other kind of defect. It was in the scene, recorded by the Ektachrome Infrared film, but otherwise invisible to the eye at the time.
The second image shows the cloud buster itself, no humans present in the photo, with details of its construction revealed. In the sky there is another invisible phenomenon.
The close-up shows another curved line in the sky, with a lighter patch apparently emanating from it, expanding in a downward direction. I have no idea what the fuck this is, but it was in the original scene, invisible to the eye and is not an artifact of any type. Everything else in the sky, that is, black lines or white spots, is dirt or dust. Sorry about that.
The third image, somewhat under-exposed, shows the farm structures and a house near the location of the cloud buster. Dr. Blasband rotated the tubes approximately 90º left, and began “drawing” (the orgonomists’ word for what a cloud buster does) from the west. The dark circular area is an artifact of the copy process, but in there we can see something that is recorded on the film:
It’s that odd swatch of light again! What is it doing there, and more fundamentally, WHAT THE HELL IS IT? A close examination shows there is also a faint black line on the lower side of the wider white line. We will explore the possibility that the photos were faked in one way or another shortly.
The final photo shows the gathered orgonomists near the cloud buster.
Note the very odd globular light forms in the sky. They resemble “orbs,” in that they are both luminous and transparent, but anyone can create beautiful orbs with a spray bottle and a cheap camera – cheap, because they have the flash close to the lens, and that’s what’s needed to create the phenomenon best known by its SCUBA divers’ name: BACKSCATTER.
Above, this was created with a $50 digital camera and a spray bottle. Just blow some spray into the air in front of the lens and take a picture, and oh, make sure the flash fires, because it’s the reflected light from the flash that makes the suspended droplets appear luminescent. I’ve diagnosed a couple of “paranormal” photos of orbs that have been taken this way – the same thing can happen with raindrops, dew, drifting mist, an insect or any other reflective object in front of the lens – and the photographers always seem to hate me, for some reason, when I tell them their orbs aren’t the ghost of Aunt Laurie, or visitors from the Pleiades. I really don’t understand it. Don’t people want to know what they’ve photographed?
But back to cloud buster photo #4. There was, of course, no mammoth spray bottle to provide droplets, and no flash on the camera, although the sun, coming from behind the photographer, will do the same job. The shadows of the orgonomists show this to be the case, the sun is directly behind me. There are 4 orbs, and they appear to be in the shape of a triangle, with the fourth orb located on an imaginary straight line between two points of the triangle. Of course, please note that ANY 3 POINTS not in a straight line will be automatically categorized by the human mind as a triangle, be it obtuse, acute or right angle.
The last photo is a detail of #4 showing the orbs with greater clarity. (The tiny white spots are, alas, dust.) The triangle at first appears to be a right angle, with the bottom almost parallel to the ground below. The two orbs denoting the ends of the hypotenuse are of approximately similar size and color, while the two other, smaller orbs have a bluish cast. If you draw all the lines from orb to orb, this displays ALL the triangles: obtuse (the lower three orbs), acute (the upper three orbs) and right angle (the overall figure)!
The orbs don’t appear to be reflections from specular highlights in the scene, like the bright chrome on the car; they’re not the right shape or in the right position.
This invisible figure is just utterly weird. I have no idea what is causing the orbs or arranging them in this peculiar fashion, and although I am no statistician I can tell you the odds against this happening by random chance, and my photographing it without being able to see it, are millions to one.
Which raises a question: Were these photos faked? Short answer: I think not, for several reasons. As I remember it, I shot about 24 pictures on the 36-exposure roll. At this point I could either have rewound the film and developed it, in which case the last 12 pictures would have been wasted (Kodak returned them as unmounted, short black strips of film), or I could leave the camera with Dr. Blasband, let him finish the roll shooting something else and have the film developed. I opted for the latter, because, well, I’m cheap, and the thought of throwing away 1/3 of a roll of special-order Kodak slide film didn’t appeal to me. So Dr. Blasband had the loaded camera for about a week before he finished the film and sent it to Kodak for developing.
During that time, the possibility exists that Blasband did something to the film to create these images, but although I acknowledge that, I think the odds are vanishingly small. Let me explain. The typical way to produce these images, which are lights against a darker background, is by double-exposure. This involves either shooting the two overlapping exposures in quick succession or rewinding the film and running it through the camera a second time to add the supplemental exposures afterward. The Beseler Topcon Super D camera we used had no provision for making intentional double exposures; indeed, there was a wind/shutter interlock against it! It wasn’t until later that professional-grades cameras began to incorporate this feature for special effects photography.
The other method, rewinding the film, requires that you line up the film while loading it accurately both times; usually you mark the 35mm. film leader with a Sharpie, and line this up with some part of the camera, so that both exposures overlap on the same frame line. Then you close the camera and wind to the first frame where you want to add a lighter object and photograph it against a black background, being careful to place it where you want to appear in the final photo. Since the film is slides, the original film is developed to produce the final image, and there is no printing process involving negatives to manipulate the image, add or remove things from it. Slide film is the original WYSIWYG (what you see is what you get)! Since I’d never marked the film the first time I loaded it, Blasband would have no reference point to re-load it, and his second batch of double-exposed images might not have lined-up with the first, which I shot. It would be one hell of a crap shoot to get them right!
Finally, although Dr. Blasband owned a couple of expensive cameras, he was basically a photographic novice and didn’t possess either the technical skills or the imagination to create these vague images. And why on Earth would anyone who was going to go to perpetuate a UFO fraud make such a poor, insubstantial one? I’d have gone out of my way to make it much more impressive than this stuff!
Dr. Blasband shot the rest of the roll taking pictures of random things around his property, and I think his wife took a few of him. Of course, the infrared film does nothing for his complexion. And Jim Dilletoso, damn his fucking ass, still has the original slides.
What conclusions can be drawn from these four images? We will not speculate, but deal strictly with the evidence, what was recorded on the film.
Four exposures (1/9) of the Ektachrome Infrared film revealed strange aerial optical phenomena, luminous in the IR range but invisible to the eye.
Are these phenomena connected to the demonstration of the cloud buster? There just isn’t enough information to say either way, and we don’t have a big enough sample to know if these phenomena occur when the cloud buster isn’t operating. It is tempting to connect the two events, the CB demonstration and the appearance of the luminous phenomena, but we can’t do it with any certainty.
The luminous phenomena don’t appear to be artifacts, film defects or processing errors, such as scratches of the emulsion on the film. They don’t appear to be any type of lens flare or other optical artifacts that I know of. The Kodak tech rep Barry Dubois (remember that name?) confirmed this.
The luminous phenomena all appear in the sky. Three of them are similar, a small curved white line of light, while the fourth is a meta-triangle made of orbs, which should not, under these conditions, be recorded.
The curved white line of light moves around from picture to picture; it is apparently something out in the environment. One of the photos shows what appears to be a hazy cone of light extending earthward from the line of light.
It’s unlikely, due to Dr. Blasband’s lack of technical expertise and the characteristics of the camera used, that the optical phenomena recorded are the result of deliberate deception, lens artifacts or special effects.
The event appears to be a singularity. It would be interesting to repeat this photographic experiment at other cloud busting demonstrations and see if anything is recorded; modern digital cameras and camcorders can be modified to record IR and/or UV light.
I have no fucking idea what is going on here. If you do, please write it down on a scrap of paper, enclose with $20 in Bitcoin and mail it to me at the Coyote Enrichment Foundation, Easy Street, Port Charlotte FL 33***. Unfortunately it won’t be tax deductible, but I will ask my private daemon, a python, to give you a hug.
Doubtless if anybody into Reich’s “orgone energy” shit reads this stuff, they’ll be pissed that I’m skeptical and report that this all reinforces Reich’s work. As I pointed out above, we simply don’t have a large enough sample to make this conclusion with any certainty. If we had photographed 100 cloud busting demonstrations, and these luminous phenomena showed up in a statistically significant portion of them, we might be able to conclude that they do tend to appear more often at CB demonstrations than not, but we STILL would not have established any cause and effect, let alone established any proof of Reich’s outlandish claims.
The film project with Dr. Blasband fell apart when I submitted a demo film that was misfortunately lacking a soundtrack to a competition for funding. I began moving away from everything having to do with orgone energy and Reich’s work as I got a better, adult understanding of what science is: a laborious, methodical process of failing to prove something wrong. Only then can we assume it is correct, until a better model comes along and pushes it aside. Reich, as anyone familiar with his career knows, hopped from one field of science to another like a frog in a pond full of lily pads, never staying with any one long enough to master it and disrespecting the accepted masters when they failed to agree with him. I went back to Florida and lost contact with Blasband, who passed away some years ago. I don’t know what happened to his cloud buster.
The odd photos I recorded at that event on windy day outside Doylestown remain a mystery, like many other things in my life. I refuse to speculate on what they might be, where they come from or if they have any intentions, and I am reconciled to the fact that I’ll never know much more about them than I do now. These photos, however, do bear mute witness to the fact that they were there, and so was I.
The first installment of this three-part series dealt with my involvement in the 1970’s with Dr. Richard Blasband, a follower of the late misfortunate Neo-Freudian psychiatrist Dr. Wilhelm Reich, who claimed to have discovered “orgone energy” in the 1930’s, a primordial substance that explained… everything! Except why Reich was such a narcissist, comparing his heavy-handed prosecution by the FDA to the cruxifixction of Christ, for instance. Got it?
The third part will deal with the analysis of the photos taken at the cloud busting training session.
This installment is taken directly from my journal That Ol’ Tripe-Face Boogie, a spiral-bound notebook dated beginning January 1974. Dr. Blasband’s cloud-busting training session occurred on September 28, 1974, a Saturday.Sections in italics are my editorial clarifications of things that need to be explained in context.
…So we come to today (actually the previous day, as this was written at 3:30 a.m.). Hugh (my brother Hugh R. Brenner, R.N., then receiving orgone therapy himself) and I set off for Blasband’s early but he took a long time showering at Rena’s so we got there 20 minutes late – not that it mattered much. Blasband was in the middle of a very detailed lecture to a group of about a dozen ergonomists and others – (M.D. Charles R.) Konia, Sally L****’s orgonomist, was there, looking very strange – Gypsy-ish, with swarthy skin and heavily lidded eyes.
After about an hour’s lecture we removed to the field with the CB (cloud buster in Reichian jargon) in it. It was a beautiful day but unfortunately no clouds. The air was very clear but not quite sparkling. I was filming with the Beaulieu (Blasband’s movie camera, a very expensive French Super-8 mm. with an excellent Angenieux zoom lens) and trying hard to remember all the controls – I think it’s not well-human engineered but I think I did everything right. Blasband put the (cloudbuster’s flexible metal) tubes in the water (a pond) and pointed it W. Within 5 minutes a strong breeze had sprung up. The breezes had been fairly random all day, more or less from the east, but this was constant and from the W. I couldn’t see the discharges on the tubes too well – only a slight purplish flame – but we noticed that the W –> E shimmer of the atmosphere OR (orgone energy or “heat waves”) stopped and went straight up. I tried to film it but the 66 mm. telephoto (on the Beaulieu) wasn’t quite long enough. 100 mm. would be good.
I had Blasband’s Beseler Topcon (a 1960’s Japanese 35mm. camera equivalent to the Nikon-F) full of EK IR (Ektachrome Infrared, a unique Kodak color slide film that recorded red and infrared light in false colors) rated at 100 ASA (now ISO) thru deep red filter and took a lot of photos (with a Topcon RE 35mm. f2.8 lens) at 1/125 @ f5.6 and f16, for bracketing. 5.6 was the meter reading off the grass. I was getting pretty close to the tubes & began to feel dizzy and slightly sick. Blasband had pointed out a kind of patchy blackening of the horizon of a hill to the W. Now the blackening was swirling in a cyclonic fashion! I had never seen anything like it before! It looked like Cecil B. DeMille special effects. I could just barely perceive it. How do we record it on film? It reminded me of a passage in (Arthur C. Clarke’s science-fiction novel) Childhood’s End where Clarke describes the Overmind manifesting itself.
I tried shooting the pipes in innumerable different ways. My spaghetti-legs tripod didn’t help. Finally I felt I had enough. I was so highly charged I felt like I was tripping. B. then swung the CB to the north. Within a minute, the wind had changed direction! That was eerie. I felt like an observer at a magic ritual – things unseen, powers almost beyond control surging around me. I shot the tubes both in normal speed and at 4 fps. at f22, shutter closed to 1/2, 1 stop underexposed. We went back – I’d shot 2-1/2 rolls, or about 7 minutes worth – good tie-in for the footage we already have.
I just threw up twice in the bathroom. 5:20 a.m. This could have any one of 4 causes: 1) The Sherman’s cigarettes I’ve been smoking. As of now I stop smoking cigarettes forever. 2) The dinner – although it wasn’t all that bad; ham, sweet potatoes, string beans. 3) The wine and beer I had at Rena’s (our stepmother). 4) Overcharge from the CB, or 5) all of the above. Sometimes I do abuse my system a little… (writing about sister’s birthday party). …In retrospect, even tho’ there were no clouds to bust, the demonstration was very impressive.
(Historical note: I came to my senses quite suddenly one afternoon, while talking with a customer over a joint in the back of my Seattle photolab, Superposter. When I told him about having had orgone therapy, he said “Huh! You went through that shit?”)
(I’d never heard anyone refer to Reich’s work like that, but his words seem to coalesce several suspicious, subversive thoughts about Reich’s work, the objectivity of his science, the reality of “orgone energy,” his self-appointed reputation as a Great Man, his “UFO experiences,” his closeness to the Great Cosmic Orgone, whether the USAF was REALLY watching over him as he believed, his “murder” in a federal penitentiary, how crazy the people who followed him were, etc., and from that point on I found myself falling out of love with Herr DoktorReich. His feet of clay had left tracks all over my life.)
(But, at the time this was written, I was still amenable to explaining everything in orgonomic terms, hence the comments about the “purplish flame on the tubes” (retinal rhodopsin fatigue, when you gaze steadily at any object) and the swirling cyclonic formation — I was obviously seeing something, but I don’t attribute it to the demonstration of the cloud buster any more. I am absolutely certain that “orgone energy” as Reich described it, a bio-field or life-energy that apparently extends into the Universe at large, and moves everything, doesn’t exist, and Reich’s headlong plunge into self-delusion about it only shows how increasingly narcissistic and crazy he became toward the end of his life.)
In the 1970’s I was still under the thrall of my family’s very own “orgone guru,” the late, absolutely bonkers Austrian Freudian psychiatrist Dr. Wihelm Reich. I lent what skills I had to proving to skeptics that “orgone energy,” which I really can’t explain here except to say that it explains EVERYTHING,existed, could be measured and, possibly, photographed with the appropriate equipment, filters and film.
Thus it was I found myself working with Dr. Richard A. Blasband,one of the last orgonomists to be trained by Reich,a rather humorless man in his mid-40’s who had established an orgonomically-correct (no fluorescent lights, not near a nuclear power plant, etc.) laboratory in the countryside outside Doylestown, Bucks County, Pennsylvania.
The thing that made Blasband interesting was that he had constructed a “cloudbuster,” a purported weather-control device with which Reich claimed he had made it rain in the Arizona desert, among other achievements. You can see something like it in the Kate Bush/Donald Sutherland video “Cloudbusting,” but that’s sort of the Terry Gilliam version of one; Reich’s, as you can see, was much less complicated!(The photo is uncredited and in the public domain.)
Basically this isn’t a machine at all, as it has no obvious energy input, and you can only detect the output if you are a sufficiently “open” or “sensitive” or “unarmored” or “orgastically potent,” which all are ways of saying you’ve paid some Reichian therapist (they drift rather far afield, these days, from what Reich wrote) a lot of dead presidents to treat the chronic muscular tensions that are the root of all your neuroses, psychoses, repressed desire to kill/fuck your mother/father/poodle/FFA project or whatever is bothering you.
The cloudbuster’s nothing but a bunch of telescoping aluminum tubes on a gimbaled axis that allows it to be swung and aimed at any point of the sky, preferably from the horizon to the zenith. The tubes, in turn, are, by Reichian logic, grounded by connecting them to a body of water (running is best)with flexible metal BX cable that has been wrapped in adhesive cloth tape. The theory is that the cloud buster will then “draw” the orgone energy from the sky to the body of water, and, depending on how you manipulate it, make all the clouds in the vicinity of where you point it either grow, or shrink.
(Hey, clouds are either doing one or the other, so you’re bound to win, right?)
With this contraption, Reich’s heirs (Such as Charles Kelly, James Trevor Constable, Blasband et. al.) claim to be able to do wondrous things such as change the path of mighty hurricanes by influencing the Earth’s “orgone energy envelope,” which is the force that controls hurricanes, natch.
(Hey, it’s Reichian physics, the less objective sense it makes, the greater its appeal!)
Let’s get one thing straight: Reich was trained as an M.D. and a psychiatrist, and that’s what he should have stuck with. His fascination with the microscope and his discovery of the “bions” (basic units of life) was the beginning of his endless fall down the rabbit hole of his own ego. Just because a man has a couple of interesting social ideas or espouses an appealing philosophy or writes a textbook titled “Character Analysis” doesn’t mean he, himself, can’t be totally fooled by a slick, sadistic, pedophile quack psychiatrist named Dr. Albert Duvall, who will molest virtually all of his pediatric patients as well as break his Hippocratic and psychiatric oaths with his adult patients.
Hmm, this piece is getting rather long, since I still have the original notes from the experiment, and the rather extensive analysis of the slides to refer to. Perhaps I should make this Part 1, and continue later in the day, it being 12:07 a.m.? Perhaps indeed.
It was so long ago that I still had a job reporting for the Charlotte Sun, which meant a regular paycheck (even if it was only a measly $9 per hour in 2003) and money in my pocket, free to burn if I wanted. I haven’t had that very often in my life, so it felt good, and I felt like indulging myself a bit.
I was in Port Charlotte, driving west on Edgewater Drive, a road that crosses US 41 to become Harborview Road (not to be confused with Harbor Drive, some miles further north). Harborview consists of a shopping center named Schoolyard Square and a bunch of run-down looking freestanding business, including the Sun. But the other side, Edgewater, holds some very nice, upper-middle class homes in addition to churches, and one of those homes happened to be holding a moving sale. So I pulled the truck over and went in.
A cursory inspection didn’t reveal any of the unusual or antique cameras I always hope to find at such sales, so I asked the lady who seemed to be running things if she had any.
“Cameras? No, we don’t take many pictures ourselves… you know, Christmas and 4th of July on the same roll? But we do have some old pictures,” she said, and pulled out these, in much the same condition as you see them now. “I don’t know where they came from, myself, but you can have them for, oh I don’t know, $12, if you want.”
I did, and I bought them all. Now, with some time on my hands, I have meticulously scanned and toned each one, to best restore the quality of the the original and redact the ravages of Grandfather Time.
The subjects in these photos, the people themselves, and the art of the photographers are on display, working as they had to with the cumbersome large-format cameras, plate films, slow lenses and limited light sources in the late 19th to early 20th Century. The pressures of war led to the development of new technologies: smaller, sharper cameras utilizing more sensitive films; coated lenses; Kodachrome and Agfachrome, the two original color films; and the electronic flash, developed by Harold E. “Doc” Edgerton at MIT. A flash Doc made for taking Army Air Force reconnaissance photos at low altitudes was so powerful, with a single discharge it could set fire to a sheet of newsprint held a yard away from the enormous flash tube!
Styles of photography changed, became more casual, and today? Today we have cameras built into our phones, and phones built into our cameras. Color is compulsory, B&W optional. Flash tubes are now smaller than the lenses that take the picture! Like sorcerers in some distorted dream, we send images flying through the ether, to land continents away, or be as wildly distorted as any vision in a nightmare. And it’s all so easy and automatic, we don’t even have to think about it!
Well, remember those days, because these days are built on them. The cell phone in your pocket has its camera because photography exploited the demand for what had once been obtainable only to nobility, the personal portrait. Here they are, and I would like to know: Of all the photo studios named here, have any survived into the 21st Century?
It’s a good interview, wherein I get the chance to discuss some of the DoS attacks against me after the Bubba the Love Sponge interview in 2011. And Mr. Bender showed a lot of sympathy, or at least empathy, with me as a zoophile.
As he points out, I’ve inadvertently become the poster child for zoophilia! When I’ve NEVER advocated it as a way of life, simply for some tolerance, and a new view of animals as something other than victims.
Well, better me than “Mark Matthews,” right? At least I can write, and I had the good sense to tell my story as a novel!
John C. Lilly Interview, Part 2, Future Life, August 1980
In Part 1, Lilly described early work with the sensory isolation tank that led to his interest in the dolphin mind, and his attempt to bridge the human-dolphin communications gap with (then-current) high speed computers, Project JANUS. Here, he continues to describe the project.
MB: So you don’t anticipate nearly as much trouble on the dolphins part as it would be to phonate in air, as you were doing earlier?
JL: Oh no, this is all underwater. Though they have started to phonate in air, mimicking JANUS’s output. Apparently they’re eager to learn.
MB: Have you received widespread public support for Project JANUS?
JL: Enough. We’ve always had just enough money to keep going, never too much. I’m glad we didn’t have too much. I found out long ago that if there’s too much money available for something, all sorts of people move in on it and waste time. If you have just enough to go on, you eliminate all the people that aren’t really dedicated to it, because they feel they can’t afford to stay in it, and they can’t. So the people left in the JANUS Project are the people who feel they can afford do sacrifice large salaries and affluent living just to be able to do this program.
MB: One question raised by Ian Watson’s novel The Jonah Kit is whether there might not be dangers in interspecies communication, specifically dangers for the dolphins in contact with the alien human mind. Look at the history of slavery, or the American Indians, for instance; take away their food source and their land, their power base, and you render them ineffectual. lMight we not “ghettoize” the dolphins, the way we have other human races?
JL: Well, there’s quite a difference, isn’t there? There’s a limited territory on the land; and land is only 29 percent of the total surface of the planet, and of that only 10 percent is inhabited by humans. So humans take up only 2.9 percent of the planet, and of that 2.9 percent there are very stringent requirements for survival of people. You have to have agriculture and manufacturing and so on for human survival. When you contrast that with the 71 percent of the of the planet that is inhabited by cetaceans, you have a freedom of territory — or a lack of territory, more like it — freedom of travel — that none of the terrestrial mammals have ever had. It’s an entirely different universe, so there’s no way to compare it with restrictive human depredations on humans and territorial aspects. The whole territorial concept kind of disappears.
MB: Yes, but obvious our pollution of the sea must represent a threat to their existence. The whole problem with the dolphin kills at Iki, Japan, comes from the fact that the northern waters got pollute, forcing those populations south. Could the day come when the sea w9ill no longer support dolphins, and they’ll be dependent on humans for their existence?
JL: I don’t know. I don’t have the global view yet. I think we’re overrating our abilities to pollute the oceans. Once we thought the oceans were an infinite sink for all our wastes. Local effects, yes. Off large cities with huge manufacturing and all that, you can poison the fish with mercury, but it’s still a very shore-based view of the oceans; an ocean is a big place. You just fly across the Pacific from here to New Zealand and look at all that water! I think it’s rather egomaniacal to think we can influence that very much, especially if we can get our awareness up to the dangers of certain kinds of chemicals and reduce that. I go along with one of the biologists, John D. Isaacs, who was writing about so-called “pollution.” What are our concepts of pollution? One of them is sewage. I’m not talking about industrial waste, now; I’m talking about human shit. What is it? Mainly a culture of Escherichia coli, the colon bacillus, and according to the biological view the colon bacillus is a universal symbiotic inhabiting the colons of all mammals. Now, whales and dolphins all shit in the sea; the colon bacillus seems to be one of the basic substratum for the perpetuation of life. So you can look at it not as a contaminant, but as a substrate for the building up of bacteria, of protozoans, plankton, krill and hence, finally of multicellular life such as mammals. So if you look and a much more thoroughly biological viewpoint about the turnover of life on the planet, the colon bacillus is somewhere near the bottom of it, and is essential.
To people who like clean bathrooms, and don’t like shit around, and object to other people throwing it around, this may sound like a radical point of view, but it isn’t; it’s basically scientifically correct as far as I can make out. So when we confuse pollution with the whole basis of life, that shows how far away from nature we really are, and how far away from nature most of our knowledge is. The shore areas are where we know most because that’s where man is. I can’t speak for most of the sea. If you can get floating cities, and really look at the ecology, and get people who live at sea, not in the usual vessels we use to cross oceans, but the kind where you can live in intimate contact with the sea creatures, I think we’ll know a lot more. Farming the sea would be a much better way to approach it; encouraging the organisms that are essential to other organisms. The oxygen on the planet depends on it.Somebody was saying the other day that three-quarters of the oxygen in the atmosphere is produced by photosynthetic organisms of the sea, as opposed to those on land, so the essential support of the atmosphere depends on the sea, for the absorption of carbon dioxide and the creation of oxygen which is necessary for all for of aerobic life. Of course, the anaerobes could take over, as they do in a stagnant lake…
MB: You have observed that the dolphins seem to be a as interested in communicating with us as we are with them. Do you think that, in the future, they will be interested in cooperating to help us run the planet?
JL: Well, that’s a question I’ve stopped asking. There are lots of questions I’ve stopped asking with the prospect of being able to ask them of the proper people — the dolphins and whales. At the time you open a new doorway, as we are hoping to do, you stop asking questions about what you’re going to find on the other side because you’re waiting to find it.
I don’t know that we’re bring enough to do this, to work out means of communicating with the dolphins; then after we work out the means, are we bright enough to understand an alien mind? I don’t know, but we’ll give it a good try. And hope that we get some really bright people who will exert their best efforts in this area. Not just in our group. I think orcas are going to be very interesting…
MB: There are reports of unusual psychic experiences with dolphins., are you investigating those avenues of communication?
JL: Not at present; they’re not reliable enough. Nobody has yet worked out a way of giving good, solid demonstrations of network of mind, except through physical means of communication. This depends on your basic belief system about mind. Is mind a universal network all over the planet, of which we’re only vaguely aware, or is mind going from one isolated mind contained in a brain to another one? I have no way of making a choice. As I keep explaining to audiences that keep asking about ESP and mental telepathy, in the people I’ve come in contact with it’s either a “wild talent” without much discipline or it’s a mediumistic sort of thing. Whereas communication by sound is universal in both our species, and if we can work out the proper means, anyone can use the method.
MB: Has the work of any science fiction authors influenced you in any way?
JL: When I was doing the early tank work, I began to look for people who had the freedom and imagination I was finding. And people like Olaf Stapleton and Frank Herbert were obviously getting into the same realms of thinking and experience that I was already in. So I used them as examples. Herbert’s now on the Board of Advisors of the Human-Dolphin Foundation. I also asked the staff of Project JANUS to go see the movie Alien, because it presented such an alien alien. Something utterly un-human. (Nothing like a dolphin, of course.)
MB:Then you find yourself on common ground with certain science fiction authors?
JL: I don’t know what “common ground” means, we’ve been talking about infinities! Openness to new domains is more like it. In The Star Maker I felt Stapleton had finally gotten a god that was big enough. Like the old story about the minister and the astronomer. The astronomer is showing the minister the Andromeda Galaxy, and the minister looks up from the telescope and says, “Now doesn’t that prove the existence of God?”
And the astronomer says, “That’s not the problem. The problem is, your god isn’t big enough!” Stapleton’s god was big enough.
MB: What is your dream or hope for the future of interspecies communication?
JL: To get it going…
(The opinions expressed here are those of the respective parties, and publication of this interview doesn’t necessarily mean endorsement of those opinions.)
Not to boast, but Lilly later told me he thought this was the best interview anyone had done with him. I felt very proud hearing that!
John C. Lilly, a fascinating combination of characteristics, had the mind of a scientist, the heart of a mystic and the vision of a genius. Unfortunately, it never really came together.
My name is Dan Schneider and I am the founder and owner of the popular and influential arts website Cosmoetica. Here is a link: http://www.cosmoetica.com/. I have a Youtube series that interviews individuals and panels of people on the arts and sciences, called the Dan Schneider Video Interview: https://www.youtube.com/user/cosmoetica. My interviews provide depth that harkens back to the days of David Susskind, Dick Cavett, WF Buckley, and Phil Donahue.
I recently discovered your videos and find your range of topics interesting- from zoophilia to psi to orgone. I have interviewed many academics, artists, theologians, and sometimes people with views outside the mainstream. If nothing else, your life seems to have been a varied and interesting one, and that wd be the focus- who you are, your beliefs, and so forth. This wd be a serious interview, and not some goof.
I am a great interviewer, and if you look thru some earlier shows you’ll see I get the the core of an issue like no one else.
Cosmoetica will go down as one of the most influential websites from the early Internet years, and easily the most influential in the arts. I hope you agree to be interviewed. If you agree, I can get things ready. The interviews require a good Internet connection, Skype on both ends- a free download, having a good webcam so we can see you, and my little recording device.
Please let me know if you would be interested in an interview. I think it might be mutually beneficial.
And my well-reasoned, calm, collected, rational reply:
Dear Mr. Dan,
A miracle!~ And on Easter, too! A podcaster who is interested in talking about something other than “sex with a dolphin”?? YES! Yes, I’ll do your show even if I have to run kite string from wherever you are to my house with tin cans on both ends so we can talk!
Actually I have an old but effective iMac, use Skype, and have recently received a superb Blue microphone from my daughter Thea (pronounced TAY-ah), who is a large part of my success, at least since 1984. We have the same birthday, which is one of many odd coincidences in my life… but shit yeah man, I’ve been trying to get Bill Skywatcher at KGRA to put me on one of the paranormal shows he produces, so I can talk about what human-dolphin telepathy has to do with UFOs!
As to my beliefs, I’ll tell you straight up front, I try to avoid “beliefs,” because a belief is a defect in your knowledge with you fill in with a fantasy, and as a former reporter I prefer to deal with facts. That’s why the 3 books I’ve written are all autobiographical: I cannot as a writer come up with stranger or more fantastic stories that what has really happened to me. (If that seems to conflict with the previous paragraph, both human-dolphin telepathy and UFOs are facts.)
Anyway yeah, let’s do this and let’s do it right, I did an interview a while ago that was really annoying, using a cheap pair of earbuds w/built in mic, and it sounded like MEGA-SHIT, but the bastard interviewer didn’t see fit to let me know that, so that’s an hour of my life wasted.
But yeah, I accept, where do I sign? — Malcolm
Now, I wouldn’t make you read all that nonsense without leading you further along the primrose path to more nonsense, would I?
Or, if you’re the scholarly type and prefer to get it from an archive:
I must admit, I thought Dan was polishing his apple a bit, comparing himself to the great news interviewers of the 20th Century… and let me say this about that, he’s not an altogether modest guy.
But, he is the best interviewer I’ve spoke to so far, because he genuinely seemed interested in me as a person, rather than the punchline to a bad joke, like Howard Stern did (damned if I’ll link to him), or someone to be rude to, like Bubba the Love Sponge (him neither), or simply brainless questions like “Did it feel good?”
And that, strangely enough, is important to me; not approval of what I am, but simply acknowledgement that I exist as I do for certain reasons, which Dan gave me a chance to explain. And for that, I thank him.
What also endeared him to me is that he records his shows in 22-minute segments, for some reason (that’s the space allotted them on his HD?), and after recording the second segment, he somehow managed to lose it entirely while trying to save it.
He made an attempt at an apology — what can, after all, one say, given the volatility of digital media? — which I graciously accepted, and we re-recorded (you can say “retaped” if you want, but you date yourself to the 20th Century and its technology) the segment, but the reason this accident was so endearing is I thought things like this only happened to me!
Seriously, I did. Hm. That makes me also remember the press photographer I knew who shot a whole assignment without having a memory card in his camera… but that was long ago, when I worked in the press. Perhaps I am not alone in screwing-up occasionally (see Wet Goddess: Recollections of a Dolphin Lover, Ch. 4, “Fatally Fogged Film,” which describes in detail the procedures required to load and safely unload film from the Jacques Cousteau-designed, Nikon-manufactured Nikonos underwater 35mm camera, and how I managed to defeat them while perfectly straight).
I might warn you that my sound is a bit dodgy, because I think I had the gain on the mic turned up too high, and the earbuds I was wearing down too low. So the beautiful, expensive Blue Yeti mic my daughter sent me isn’t responsible. As the HAL 9000 computer said in 2001: A Space Odyssey, “I’m sorry, Dave, but this appears to be a case of operator error.” I intend to recalibrate the settings and try again, the next time someone wants to talk to me.
I’m glad you’re reading this, because while you are, I know you’re not here, filling the air around me with deadly viruses! And President Bonespurs is wrong, as usual: the way the coronavirus is being spread isn’t a conspiracy by the diabolical Chinese, it’s a plot by the Stupid People. They’re trying hard to commit suicide, and they’re willing to take Grandma with them, if that’s what it takes! Hey, it was her time!