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Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!nic.hookup.net!news.kei.com!sol.ctr.columbia.edu!howland.reston.ans.net!cs.utexas.edu!usc!elroy.jpl.nasa.gov!ndr From: ndr@tazboy.jpl.nasa.gov (Niles D. Ritter) Newsgroups: alt.comedy.firesgn-thtre,alt.fan.firesign-theatre,alt.answers,news.answers Subject: Firesign Theatre: Introduction and Table of Contents Supersedes: <fs_intro_752990782@tazboy.jpl.nasa.gov> Followup-To: poster Date: 13 Dec 1993 18:14:06 GMT Organization: Jet Propulsion Labs Lines: 854 Approved: news-answers-request@MIT.Edu Distribution: world Expires: 26 Jan 1994 18:14:03 GMT Message-ID: <fs_intro_755806443@tazboy.jpl.nasa.gov> Reply-To: ndr@tazboy.jpl.nasa.gov NNTP-Posting-Host: 137.78.80.135 Summary: This posting contains an introduction to the Firesign Theatre comedy group, including a table of contents, and should be read by anyone who wishes to post to the alt.comedy.firesgn-thtre newsgroup. Keywords: firesign,comedy,faq,bozo Originator: ndr@jane Xref: senator-bedfellow.mit.edu alt.comedy.firesgn-thtre:995 alt.fan.firesign-theatre:255 alt.answers:1411 news.answers:15734 Archive-name: firesign-theatre/intro Last-modified: 1993/12/13 Version: 1.8 About This Archive ------------------ This archive is posted monthly to alt.comedy.firesgn-thtre, alt.fan.firesign-theatre, alt.answers, and news.answers. It is also available via anonymous ftp to rtfm.mit.edu in the directory /pub/usenet/alt.answers/firesign-theatre/*, or by sending e-mail to mail-server@rtfm.mit.edu with the message "send usenet/alt.answers/firesign-theatre/*". Include the line "help" in the message for more information on the server. Changes: 1. New CD's out The Firesign Theatre: Introduction & Table of Contents ====================================================== This series of files is intended to provide a general information base for discussion, and answer some frequently-asked questions posted on alt.comedy.firesgn-thtre and its mirror-clone alt.fan.firesign-theatre. For the rest of this document "alt.comedy.firesgn-thtre" will be used to refer to both groups. Additions and corrections to this file should be directed to the FAQ editor (###-a fancy title for ndr@tazboy.jpl.nasa.gov (Niles Ritter). Some portions of this document are copyrighted by the members of the Firesign Theatre; you may want to get permission before using parts of this document in *for-profit* publication -- we are their fans, after all! PC Disclaimer: Any terms below considered derogatory to ethnic groups are used only in a *satirical* manner. A Bozo would never offend anyone! Honk! Honk! ###-Editor's remarks are denoted by three #'s Table Of Contents ================= (Each "Side" is a separate file.) Side 1) Firesign Theatre: Introduction 1.1) Who Am Us, Anyway? 1.1.1) The Four or Five Crazy Guys 1.1.2) A Forward Into the Past History 1.1.3) The newsgroups and fan clubs 1.2) Published Works 1.2.1) Radio/TV/Stage production 1.2.2) Vinyl 1.2.3) Video 1.2.4) Books 1.2.5) CD's 1.3) References 1.3.1) Interviews/articles on FT 1.3.2) Literary References/Background Side 2) Firesign Theatre: Frequently Asked questions 2.1) How Can I Get Copies of this FAQ? 2.2) How can I contact the NewsGroup with E-mail? 2.3) Any Reunions going on ? 2.4) Where are they now ? 2.5) Common FT Phrases 2.6) Who is Doctor Memory? 2.7) Is it "Back T0 the Shadows" or "..FROM the Shadows" ? 2.8) FT Questions posed to the Usenet Oracle Side 3) Firesign Theatre: Lyrics to Songs Side 4) Firesign Theatre: Lexicon -------------------------------------------------------------- Side 1) Introduction to Firesign Theatricum Creating an FAQ for the Firesign Theatre is something analogous to "The complete works of Shakespeare, FAQ", so be aware that the world of FT is as vast and deep as the ocean and the azure sky. 1.1) Who Am Us, Anyway? Here is a description of the Firesign Theatre: A group of four gifted improvisational comedians and satirists, perhaps best known for several record albums they produced in the 1970s. These were famous for their depth of interaction among the characters, their range of literary allusion and references to popular culture, history and science, and the incomparable surreal quality of their pacing. Different listeners would each find different significance in the work and make different connections between themes within them. Much of their work anticipated developments in video, interactive media, computer technology and virtual reality by some 20 years. Their initial work began on radio in Los Angeles in the mid 60's, but their James-Joycean style of dramatic satire quickly expanded to include phonograph recordings, live stage productions, movies, books, and one of the first interactive video productions produced. More than one fan has noted the complexity of their recordings, which derived from their use of dense layering of sound tracks, as well as their ingenious use of puns, metaphor, and other literary allusions. The FT wove intricate stories which flowed, not so much like a river, but like a rapidly evolving organism, projecting pseudopods out this way, and then that. And yet the stories always seemed to maintain its own internal logic. None of this begins to do them any justice: we encourage you to buy one of their CDs (or old phonos) and hear for yourself. This is in fact, about the only way to really understand what the Firesign Theatre was and IS about! We're not insane! 1.1.1) The Four or Five Crazy Guys: Name -- Aliases, roles ----------------------------------- Philip Austin -- Nick Danger, Hemlock Stones, etc, Philip Proctor -- Clem, Ralph Spoilsport, the Poop, etc David Ossman -- Porgie, Catherwood, etc Peter Bergman -- Babe, Mudhead, Nancy... We should also acknowledge the oft-ignored but ubiquitous female members: Annalee Austin -- Operator in "Don't crush that Dwarf" Tiny Ossman -- Announcerettes in "Bozos" For updates on where they are now, see the "Frequently Asked Questions" file. A series of quotes from the {BBOP} book: Philip Austin: ------------- "I always wanted to be a part of something. Annalee and I used to secretly, separately, dream of rock and roll bands. I hadn't even *thought* yet that rock and roll could save me. "So I was in Hollywood in 1966, starving on all levels. I got a job in a radio station because I could always do that with my voice -- could make you believe that I was committed to the words coming out of my mouth. I mistakenly believed, therefore that I was an Actor. I'm not. I'm a musician. Interesting that it was the *sounds* of the words that got to me the most. The Firesign Theatre was the vehicle that allowed me to make that discovery. "The Firesign Theatre is a *Technique*. "These were the people who faced me across the microphones on the radio and this is what I think of them: "David Ossman is the first I met. The two of us are not what you'd think of right off as comedians. I was producing all these plays by dead authors -- acting, directing; got David to act, looked at the amazing books of poetry that he'd produced -- as if he had hand-printed every page. We had wonderful conversations about the Indians. Hopi. "Peter Bergman was the Voice that Wouldn't Die. What a talker! The Champ. I engineered _Radio Free Oz_ and appeared in a variety of stoned disguises. (This was fun. Not like acting, which is not real to me, therefore not fun.) Unlike most performers, Peter becomes *more* candid when he performs. Set him in front of a microphone and you have an angel. With most people, it's the opposite. "Philip Proctor *is* an actor. He is also not exactly a comedian. He is not so much trying to make you laugh as he is trying to explain something to you. I have always been his friend because I admire that so much. He can go places I can't. He was a friend of Peter's who was "funny". God, ain't dat de trufe! "So there we were, *four friends*. You see, we had no ambitions. It was a pure jam and the instrument we each played was verbal glibness or *radio*. We still continue that first conversation. This book, those recordings, are records of that conversation, a minute-book of the meeting. "Quickly, Ambition walked in the door. I thought we were good. I'd heard some pretty fast, funny cats in my time, but these three were as good as Spike Milligan. We started hanging out with each other, gave up our jobs, found more and more ways to earn livings using each other. I got my Globe Theatre, Phil P. got a Movie Company, David got a Great Work of Literature and Peter got the Forever Radio Show. "RECORDS ARE RECORDS (recordings of something). THEY ARE MEANT TO INCLUDE YOU IN OUR CONVERSATION. "Yes, we take it seriously. Read [in the Big Book of Plays] Hideo Gump Sr.'s intro to each script. Laughter and Dancing, Singing and Love. We love the Firesign Theatre. How do you get along with people? What do you have to show for it? Our work is, to me, my answer to those questions. "What does it mean? "1. The Firesign Theatre writes communally. Every word goes through four heads for approval. We therefore write very slowly. Our energy level is intense. Grown men leave the room when we fight with each other. Nothing is sacred. "2. Therefore, there are considerable areas of chance (*chance*) in our work since no overall motive is possible. All communal endeavors learn one thing, I think. *Only real things can be agreed upon*. The future is not real, therefore *motives* cannot be agreed upon. *Chance becomes the motive*. "What do we mean? We mean whatever's happening. ?Que paso, hombre? *Our records are records of what happened to us during the period we made them. *Our records are a continuous story that will last as long as our friendship. *May we be friends forever. --Phil Austin (Signature) Philip Proctor: " I was born in a trunk in the Princess Theatre, Pocatello, Idaho. No, I was born in Goshen, Indiana. I really have spent some time analyzing it. I grew up in an essentially schizophrenic existence. I was schooled on the East Coast, because I moved there when I was five. I went to Riverdale Country School and Yale University, but during my formative years of growth -- the pubic years -- I grew up in Goshen, Indiana, with my grand parents and my neighborhood friends. Radio and comic books had a lot to do with my youth. The comic books supplied the visual element. I finally became a professional actor after college. Acting led me to The Firesign Theatre because I found New York theatre to be dumb and limited. Silly. I wanted to create my own theatre. --Philip Proctor (Signature) David Ossman: "I'm a writer, a poet, which is to say I always did that. My life was totally in my head, and I wrote about it. I developed a historical sense of things and then I went into radio. Because that's what I always wanted to do.It was one of those childhood fantasies like growing up to be a fireman. I wanted to be a radio announcer, and in 1959 I became a radio announcer. I did that for quite a while. I worked in New York at WBAI for two years and then went back to the West Coast and worked for KPFK for four years. They laid everybody off, including me, so I got a job in television, which I hated, so I dropped out of that. The Firesign Theatre appeared at the same time. --David Ossman (Signature) Peter Bergman: "I owe everything I do tho my normal childhood. I had a very unrepressed childhood and I lived in the Midwest, and there were very few things to amuse myself, except softball, so I would do routines to myself, like "Why Isn't Everybody Happy?" was one of my routines, so they kept me indoors a lot. A kid named Bruce Berger and I opened up a parking lot one night in an empty lot across from an Emporium show. We made $50 wearing Cleveland Indians baseball caps, yelling, "*Park and Lock it! Not Responsible!*" "My honest idea of The Firesign Theatre is four artists getting together and grouping to create some new art form, some multi-art that comes our of all four of their minds. It's an interesting choice, and that's one of the things that fascinates me. It's not a loss of identity, really. It's more a gaining of a double identity. I'm Peter Bergman and I'm one-quarter of The Firesign Theatre. And when I have those two things together, in harmony, one feeds off the other. --Peter Bergman (A very Floral Signature) 1.1.2) A Forward Into the Past History Another excerpt from the "Big Book of Plays": Mark Time's True Chronology of The Firesign Theatre --------------------------------------------------- 1966: July 24 -- The first broadcast of Radio Free Oz over KPFK-FM (*) (Peter and various collaborators are on the air five nights a week until March). November 17 -- The Firesign Theatre's first performance, "The Oz Film Festival," a three-hour improvisation on Radio Free Oz. December -- Peter, David, and Phil and Annalee Austin attend the Soyal Ceremony in Hopiland. (Phil P. is On Tour in Florida). 1967: March -- The first broadcast of a four-hour radio documentary on the American Indian, written and produced by Peter, David, and Phil A., followed by a weekend Colloquium, followed by the first Love-In, organized by Radio Free Oz, which moved to KRLA (AM) the same day (March 26). April-May -- After Phil Proctor's return from the East, The Firesign Theatre writes and records Waiting For The Electrician or Someone Like Him. April 29 -- The Firesign Theatre performs their Bulgarian play called "Waiting for the Electrician" at a UCLA Experimental Arts Festival. June-July -- David and Phil P. conduct Oz during Peter's return trip to Turkey. September 14 -- Peter and David begin broadcasting Oz for three hours every Sunday night from a Studio city club called The Magic Mushroom. October 29 -- Bridey Murphy Eve on Oz begins a series of weekly radio plays written and performed live by the FT at the Mushroom. Among the scripts are "Exorcism in Your Daily Life," "The Last Tunnel To Fresno," "20 Years Behind The Whale," "The Giant Rat of Sumatra," "The Sword and the Stoned," "Sesame Mucho," "The Armenian's Paw," and "Tile it Like It Is." December 9 -- The Firesign Theatre performs its first stage piece, "Freak For A Week," for a KPFK benefit at the Santa Monica Civic Auditorium. 1968: *(All locations in Los Angeles, unless otherwise mentioned) ###-More to Follow (really ! I promise!). Lynn Gustafson writes: In the mid-sixties the Renaissance Pleasure Faire in So.Cal. was a fund raiser for KPFK. They did live broadcasts from the fairesite. The Flying Karamazov Brothers were also working at the faire at that time. When the Living History Centre was first incorporated, their motto was "Forward Into the Past." LHC and RPF are still around, in our 31st year Some of the guys still show up occasionally. 1.1.3) The newsgroups and fan clubs There are two newsgroups: alt.fan.firesign-theatre, and alt.comedy.firesgn-thtre. The first group causes some news servers problems due to its name having >14 chars. Most people seem to be gravitating towards the "comedy" group these days. For the rest of this document, "alt.comedy.firesgn-thtre" will assume to refer to both of these groups. As near as anyone can figure, alt.comedy.firesgn-thtre is composed of a bunch of the old guard, sitting around and exchanging FT lines with each other ("What about my pickle?" "You're lucky you still have your brown paper bag, small-change!"), together with neophytes who might have just run across the newsgroup, discussions about where the FT members are now, reunion announcements, the deep philosophical and metaphysical implications of Bozos, and other such musings. Four-Alarm FIRESIGNal --------------------- Elayne Wechsler-Chaput <72672.2714@CompuServe.COM> produces a tri-annual newsletter called "Four-Alarm FIRESIGNal" (or FAlaFal for short). The newsletter is free; the publisher does however welcome SASEs and monetary donations. She is also said to have an extensive personal collection of FT information, tapes, etc. Her address is: Four-Alarm FIRESIGnal c/o Elayne Wechsler-Chaput 1747 65th Street Brooklyn NY 11204 E-mail updates may be in the offing, as well Hot Flashes ----------- Michael Packer <packerm@GVSU.EDU> at West Michigan Public Broadcasting, runs a e-mail mailing-list called "Hot Flashes" of latest events, etc. He also maintains a large and growing archive of FT and related audio, video, etc. works, Including Harry Shearer, Ken Nordine, Stan Freberg, Goon Show, etc. His address is: Michael Packer PO Box 3540 Grand Rapids, MI 49501 Phone:(616) 363-8231 or (616) 771-6714. Fax: (616) 771-6625 The Firesign Theatre used to have a fan newsletter called, "It's just this little Chromium Switch, Here!", but is now defunct. 1.2) Published Works 1.2.1) Radio/TV/Stage production The following are the entries from the complete movie/TV credit databases (portions of which are on refuge.colorado.edu) for the FT members: All 4 wrote the 1971 movie Zachariah (along with Joe Massot). Details from David Miller: The "original" FST movie is 1971's (?) _Zachariah_. That is, they wrote the first version and have small parts in it, but it was rewritten by its producers, and shows only occasional FST touches. They now refer to it in very unkind terms, and boy does it look dated--wild west rock 'n roll starring an unbelievably young Don Johnson. It's still available from Playhouse Video, 39000 Seven Mile Road, Livonia, MI 48152. It turns up sometimes *real* late at night... Acting credits for Peter Bergman: Fantasies (1980) (TV) Money, Power, Murder (1989) (TV) [Brant] Woman on the Ledge (1993) (TV) [Bob] "All My Children" (????) Acting credits for Phil Proctor: Lobster Man from Mars (1990) Bad Attitudes (1991) (TV) Tunnel Vision (70's?) A Safe Place (1971) Diana Rigg Show -- played fashion designer "Mr. Vincent" who was Diana Rigg's boss. ...often appears on TV Other: Americathon (writing credits for Proctor & Bergman) Thomas M. Niccum writes of yet another (dare we call it?) credit: In about 1976 I was present at a lunch with a few friends and Phil Proctor was there - my friend was a reporter for the U of Minnesota Daily, and had volunteered to do a piece on Proctor and Bergman who were in town to open for (get ready) Sha Na Na (ook). Anyway, he told us that he had met up with the Starland Vocal Band (who had a hit entitled "Afternoon Delight" if I'm not mistaken). The band had been offered a summer replacement show, and Proctor and Bergman had volunteered to write. Thus forewarned, I looked for it the next year, and managed to catch one episode. It was pretty normal "variety" show type TV. I'm pretty sure they did the "Shoplifters" supermarket commercial, which shows up in their Eat or be Eaten CD and Video. 1.2.2) Vinyl --------------- Firesign Theatre: ----------------- 1968 - Waiting for the Electrician or Someone like him Columbia CS 9518 1969 - How Can you be in two places at once, when you're not anywhere at all? Columbia CS 9884 1970 - Don't Crush that Dwarf, hand me the pliers: Columbia C 30102 1971 - I think we're all Bozos on this bus: Columbia C 30737 1972 - Dear Friends: Columbia PG 31099 1972 - Not Insane or Anything You Want To: Columbia KC 31585 1974 - The Tale of the Giant Rat of Sumatra: Columbia C 32730 1974 - Everything you know is Wrong!: Columbia KC 33141 1975 - In the next world you're on your own: Columbia PC-33475 1976 - Forward into the Past: Columbia PG-34391 1977 - Just Folks ... A Firesign Chat: Butterfly FLY 001 1979 - Roller Maidens from outer Space: Epic (Phil Austin) 1979 - Fighting Clowns: Rhino 1980 - Carter/Reagan: Rhino ???? - Eat or be eaten. Proctor & Bergman : ------------------- ???? - TV OR NOT TV: Columbia KC-32199 1975 - What this Country Needs: Columbia PC-33687 1978 - The Comedy of Proctor and Bergman / Give Us A Break: Mercury SRM-3719 Solo/Subgroup Albums: --------------------- How Time Flys: Columbia C 32411 -- David Ossman Lawyer's Hospital Shakespeare's Lost Comedie (Rhino Records) Nick Danger and the Case of the Missing Shoe Reunion Album: -------------- The Three Faces of Al Syndicated Radio Pressings and other stuff: Howard Landman writes: In the booklet of the Mobile Fidelity CD of DEAR FRIENDS, it says that there was a 12 hour syndicated version released to radio stations (on 12 vinyl records, of which only 100 copies were pressed. John Leving writes: FYI, when Proctor and Bergman were at Yale, they did a lot of goofing around on WYBC-FM, the student radio station. There may still be old airchecks of theirs lying around on tape cartridges. 1.2.3) Video ---------------- 1985 - Eat or be Eaten (0:30) 1983 - Nick Danger: Missing Yolks (1:00) Originally an Interactive Video (SelectaVision). 1979 - J-Men Forever (1:20) 1985 - Hot Shorts (FT voice-over) (1:30) ???? - Everything you know is wrong ???? - Martian Space Party ???? - Love is hard to find (###-get?) -- Peter B. 1.2.4) Books --------------- 1.2.4.1 Big book of plays: Type of Material: Book LC Call Number: PN6120.R2 F47 Author: Firesign Theatre (Performing group) Title: The Firesign Theatre's big book of plays. Publication Info: [San Francisco] Straight Arrow Books [1972] Phys. Description: 143 p. illus. 26 cm. Subjects: Radio plays, American. Other Names: Big book of plays. LC Card Number: 72079024 //r82 ISBN: 0-87932-028-1 0-87932-027-3 (pbk) There are at least two different versions of "The Firesign Theatre's Big Book of Plays". The first printing (so marked) has a red cover, with white and gold outlining the shape of an old-time radio; the knobs are a little kid and a man in a sad-face mask, and has two scantily clad women in silhouette, with a cover price of $4.00. The other version has a yellow border, an old-time radio at the top of the page segues into a window at the bottom, through which a road runs. A guy is waving through the window at four guys on the other side, who are playing leap frog. The cover price is $5.95. The first printing makes reference to a hardbound edition. The SBN for the case bound in my book says 0/87932/028/1, whereas the paperbound is 0/87932/027/3. 1.2.4.2 Big mystery joke book: Type of Material: Book LC Call Number: PN6120.R2 F48 1974 Author: Firesign Theatre (Performing group) Generic Title: Big mystery joke book Title: The Firesign Theatre's Big mystery joke book. Publication Info: San Francisco : Straight Arrow Books;[New York]: distributed by Simon and Schuster, [1974] Phys. Description: 150 p. : ill. ; 26 cm. Notes: Money song.--An invocation from the Book of Punter.--The mysterious history of the Firesign Theatre.--The tale of the giant rat of Sumatra.--The further adventures of Nick Danger, third eye.--Temporarily Humboldt County.--The adventures of Mark Time.--Hundred Dollar Ben.--Young Guy, motor detective.--The year of the rat.--Gramps' world.--Rubbergon dumn Toyko.--Le trente-huit cunegonde.--The dream play. Subjects: Radio plays, American. Other Names: Big mystery joke book. LC Card Number: 74076601 //r832 ISBN: 0-87932-078-8 : $5.95 1.2.4.3 The Bozobook ------------ Source: Yale Catalog: ----------------------------------------------------------------- Author: Firesign Theatre (Performing group) Title: Bozobook : or, clam calendar & book of ours : excerpts from the notebooks of the Firesign Theatre, volume '71. Published: Isla Vista, Calif. : Turkey Press, 1981. Description: [48] p. : ill. ; 23 cm. Notes: Paper wrappers. ---------------------------------------------------------------------- LOCATION: CALL NUMBER: STATUS: SML, Stacks, LC PS3556 I73 B6 Joe LoCicero writes further: So how many people have ever heard of the Bozobook? I have it sitting right here in front of me... and it says: 400 copies were letterpressed in the Spring of 1981 from a variety of hand-set types and found art. Twenty-six copies have been hardbound, lettered A-Z, and signed by The Fire- sign Theatre. Design, printing, and binding by Harry and Sandra Reese at TURKEY PRESS, 6746 SUENO ROAD, ISLA VISTA, CA 93317. This project was supported, in part, by a grant from the National Endowment for the Arts, our federal agency, in Washington, D.C. It also says: Material in this book is from THE NOTEBOOKS OF THE FIRESIGN THEATRE, August 1970-August 1971, the original scripts and research for the album, I Think We're All Bozos On This Bus. It is presented as part of The Firesign Theatre's 15th Birth- day Celebration, and on the 10th anniversary of the release of the "Bozos" album. Edited for The Firesign Theatre by David Ossman, in asso- ciation with Harry Reese and Turkey Press, March 1981. Your 'OUR 12 CENTERFOLD' could be a page from the produc- tion script of "Bozos," xeroxed for this edition, or an origi- nal mimeographed page from one of several version of the script to the ABC Films production of Zachariah by Joe Mas- sot and The Firesign Theatre. 1.2.4.4 The apoca[l]ypse papers Andrey Yeatts found this at the Univ. of Arizona: CALL # PZ2001.F523 A6 LOCATIONS Special Coll AUTHOR Firesign Theatre (Performing Group) TITLE The apoca[l]ypse papers : a fiction. SERIES Famous science fiction chapbook series ; v. 1. PUBLISHER Topeka, Kan. : Apocalypse Press, 1976. SUBJECTS Science fiction. NOTE "This is book no. 267 in a series of 500 unsigned copies." Includes bibliographical references. DESCRIPTION [32] p. : ill. ; 22 cm. -- 1.2.4.5 Other Works by David Ossman Source: Univ. Calif. Berkeley (GLADYS) Library: Title List ---------- 1. The day-book of the city / David Ossman. <1982> 2. Hopi set : 12 poems for chance reading / David Ossman. <1985> 3. The Moon-sign book : Los Angeles/San Juan / David Ossman. <1984> 4. The Rainbow Cafe, Hollywood, 1967 / David Ossman. <1982> 5. The sullen art; interviews by David Ossman with modern American poets. <1963> 6. The sullen art; interviews by David Ossman with modern American poets. <1963> 7. Third mesa. <198-> 1. Ossman, David. The day-book of the city / David Ossman. [Isla Vista, CA] : Turkey Press, 1982. Bancroft pPS3565.S7.D3 Non-circulating; may be used only in The Bancroft Library. 2. Ossman, David. Hopi set : 12 poems for chance reading / David Ossman. [Isla Vista, Calif. : Turkey Press] c1985. Bancroft pPS3565.S77.H67 1985 Non-circulating; may be used only in The Bancroft Library. 3. Ossman, David. The Moon-sign book : Los Angeles/San Juan / David Ossman. Isla Vista, CA : Turkey Press, 1984. Bancroft pPS3565.S77.M66 1984 Non-circulating; may be used only in The Bancroft Library. Note: Blue paper wrappers. 4. Ossman, David. The Rainbow Cafe, Hollywood, 1967 / David Ossman. [s.l.] : Turkey Press, 1982. Bancroft pPS3565.S77.R39 Non-circulating; may be used only in The Bancroft Library. 5. Ossman, David. The sullen art; interviews by David Ossman with modern American poets. New York, Corinth Books, 1963. Moffitt PS324.O8 Main Stack 905 O84 sul 6. Ossman, David. The sullen art; interviews by David Ossman with modern American poets. New York, Corinth Books, 1963. Bancroft A6.O75S9 1963 Non-circulating; may be used only in The Bancroft Library. Note: Black cloth; dust jacket. Note: Tram Combs collection STORAGE #: W 74 821 7. Ossman, David. Third mesa. [Isla Vista, CA : Turkey Press, 198-?] Bancroft pffPS3565.S77.T55 1980z Non-circulating; may be used only in The Bancroft Library. Note: Signed copy. 1.2.5) CD's The following FT albums are currently available on CD: Bozos (MFCD 785) Don't Crush That Dwarf (MFCD 880) Waiting for the Electrician (MFCD ???) How Can you be in two places at once... (MFCD 834) Dear Friends (MFCD 758); Fighting Clowns (MFCD 748); Shoes for Industry! (double CD Collection) Available through Mercury (Columbia): Eat or Be Eaten (Mercury 826 452-2 M-1; released 1986). Regarding this CD, Dave Lucas informs us that more than just sound is found on this CD: I read in a technical book (sorry, can't remember which) that 'Eat Or Be Eaten' was the first CD+G disc published in the US. [actually, this was some time ago, and the book said that it was the *only* CD+G disc published in the US] So I popped it in a CDTV box, and sure enough... The screen gets refreshed every 2-3 seconds, and it does add a dimension to the fun. Other CD collections are or were rumored to be available through Rhino Records, though this has not be substantiated. Upcoming: --------- A new CD based on the upcoming "Illusion of Unity Tour" may be in the works. 1.3) References ---------------- 1.3.1) Interviews, by interviewer David Reitman, Rock Magazine Tony Vellela, Go Magazine Michael Ross, Creme Ernest Leogrand, N.Y. Daily News John Carpenter L.A. Free Press -- San Diego Door Richard Hill, Rolling Stone Terry Gross "Fresh Air" Radio Show Interview, 17 Nov, 1993 (inquire at FRESHAIR@HSLC.ORG) New York Times, May 3 1993: a review of the '93 Seattle reunion show LA Times, Nov 20. 1993: Calendar Section: Interview w/ FT. 1.3.2) Literary References/Background [### This is just a start. Other ref's appreciated!] Books: Discography: THE ROLLING STONE RECORD GUIDE, ed. D.Marsh and J.Swenson Random House/Rolling Stone Press, 1979, ISBN 0-394-73535-8 and THE NEW ROLLING STONE RECORD GUIDE, ed. D.Marsh and J.Swenson Random House/Rolling Stone Press, 1983, ISBN 0-394-72107-1 Samuel Becket: Waiting for Godot -- "Waiting for the Electrician" Krapp's Last Tape -- "Dont Crush that Dwarf" James Joyce: Ulysses -- Molly Bloom's Soliloquy in {TWO PLACES} Isaac Asimov: I, Robot -- Robot's Rules of Order in {BOZOS} William Shakespeare: Twelfth Night As You Like it William S. Boroughs: The Naked Lunch -- "Returned for Regrooving" The Bible, Book of Revelations -- "Roller Maidens from Outer Space" Book of the Hopi, (Published 1963) Hopi/Moqui Indian Folklore & Mythology -- "Temporarily Humboldt County" TOPS-10 SAILON LISP Programmer's Manual -- "Dr. Memory" "If At All Possible, Involve A Cow": A history of University of Southern California, David Ossman's alma mater. Documents their mascot in the 40's, a dog by the name of George Leroy {TIREBITER}! Movies: "The World of Tomorrow" An excellent documentary on the 1939 World's Fair, one of the motivations for the "Future Fair" on {BOZOS}. With Jason Robarts as the Narrator. -------------------------- End Side 1 of 4------------------------