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Nonbinary: A Memoir
A revealing and beautifully open memoir from pioneering industrial music artist, visual artist, and transgender icon Genesis P-Orridge
In this groundbreaking book spanning decades of artistic risk-taking, the inventor of “industrial music,” founder of Throbbing Gristle and Psychic TV, and world-renowned fine artist with COUM Transmissions Genesis P-Orridge (1950–2020) takes us on a journey searching for identity and their true self. It is the story of a life of creation and destruction, where Genesis P-Orridge reveals their unwillingness to be stuck—stuck in one place, in one genre, or in one gender. Nonbinary is Genesis’s final work and is shared with hopes of being an inspiration to the newest generation of trailblazers and nonconformists.
Nonbinary is the intimate story of Genesis’s life, weaving the narrative of their history in COUM Transmissions, Throbbing Gristle, and Psychic TV. It also covers growing up in World War II’s fallout in Britain, contributing to the explosion of new music and radical art in the 1960s, and destroying visual and artistic norms throughout their entire life.
In addition to being a captivating memoir of a singular artist and musician, Nonbinary is also an inside look at one of our most remarkable cultural lives that will be an inspiration to fans of industrial music, performance art, the occult, and a life in the arts.
In this groundbreaking book spanning decades of artistic risk-taking, the inventor of “industrial music,” founder of Throbbing Gristle and Psychic TV, and world-renowned fine artist with COUM Transmissions Genesis P-Orridge (1950–2020) takes us on a journey searching for identity and their true self. It is the story of a life of creation and destruction, where Genesis P-Orridge reveals their unwillingness to be stuck—stuck in one place, in one genre, or in one gender. Nonbinary is Genesis’s final work and is shared with hopes of being an inspiration to the newest generation of trailblazers and nonconformists.
Nonbinary is the intimate story of Genesis’s life, weaving the narrative of their history in COUM Transmissions, Throbbing Gristle, and Psychic TV. It also covers growing up in World War II’s fallout in Britain, contributing to the explosion of new music and radical art in the 1960s, and destroying visual and artistic norms throughout their entire life.
In addition to being a captivating memoir of a singular artist and musician, Nonbinary is also an inside look at one of our most remarkable cultural lives that will be an inspiration to fans of industrial music, performance art, the occult, and a life in the arts.
352 pages, Hardcover
First published June 15, 2021
About the author
Genesis P-Orridge
43 books125 followersGenesis Breyer P-Orridge (born Neil Andrew Megson 22 February 1950) is an English singer-songwriter, musician, writer and artist.
P-Orridge's early confrontational performance work in COUM Transmissions in the late 1960s and early 1970s along with the industrial band Throbbing Gristle, which dealt with subjects such as prostitution, pornography, serial killers, occultism, and P-Orridge's own exploration of gender issues, generated controversy. Later musical work with Psychic TV received wider exposure.
After marrying Lady Jaye Breyer P-Orridge in 1993, Genesis and Lady Jaye began a project to become Breyer P-Orridge, a single pandrogynous entity. Genesis Breyer P-Orridge continued this project after the death of Lady Jaye in 2007.
P-Orridge's early confrontational performance work in COUM Transmissions in the late 1960s and early 1970s along with the industrial band Throbbing Gristle, which dealt with subjects such as prostitution, pornography, serial killers, occultism, and P-Orridge's own exploration of gender issues, generated controversy. Later musical work with Psychic TV received wider exposure.
After marrying Lady Jaye Breyer P-Orridge in 1993, Genesis and Lady Jaye began a project to become Breyer P-Orridge, a single pandrogynous entity. Genesis Breyer P-Orridge continued this project after the death of Lady Jaye in 2007.
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Displaying 1 - 30 of 61 reviews
September 6, 2021
Friendly reminder that Genesis was a horrific abuser and attempted murderer of their former partner and bandmate among other problems. They have been caught telling endless lies. They have never been held accountable.
They never identified as NB until after death unless I'm missing something? So this also seems to be the publisher's fault, capitalizing on trans words and narratives. Genesis does not represent us. No trans person represents everyone, but Gen's grandiose narcissism means it must be said before their claims of inventing acid house and so on are believed. Please read Art Sex Music by Cosey Fanni Tutti instead.
Sometimes a 1 star review of a book I haven't read is necessary when it's something this gross and harmful to both the people Genesis abused and to trans people who will undoubtedly have this portrayal attached to us. Also, for industrial music lovers who have eaten up many of Genesis' lies over the years (self included.) Gen is dead, let the damage they continue to do end there
They never identified as NB until after death unless I'm missing something? So this also seems to be the publisher's fault, capitalizing on trans words and narratives. Genesis does not represent us. No trans person represents everyone, but Gen's grandiose narcissism means it must be said before their claims of inventing acid house and so on are believed. Please read Art Sex Music by Cosey Fanni Tutti instead.
Sometimes a 1 star review of a book I haven't read is necessary when it's something this gross and harmful to both the people Genesis abused and to trans people who will undoubtedly have this portrayal attached to us. Also, for industrial music lovers who have eaten up many of Genesis' lies over the years (self included.) Gen is dead, let the damage they continue to do end there
June 30, 2021
I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.
My Review: There are no words for Genesis P-Orridge. Trans, genderqueer, non-binary; artist, musician, creator...or Creator. Not one of them can hope to do more than capture a slice of this astonishing being's self.
William S. Burroughs met them when they were twenty...he immediately posed them a life-long quest in a question:
"How do we short-circuit control?"
When William S. Burroughs asks you to solve a problem the first day you meet him, all of 20 to his rising-60, you have to know you are Someone. And Someone Genesis was, and became, and remained until their death from leukemia at seventy.
The entire review is posted at Expendable Mudge Muses Aloud.
My Review: There are no words for Genesis P-Orridge. Trans, genderqueer, non-binary; artist, musician, creator...or Creator. Not one of them can hope to do more than capture a slice of this astonishing being's self.
William S. Burroughs met them when they were twenty...he immediately posed them a life-long quest in a question:
"How do we short-circuit control?"
When William S. Burroughs asks you to solve a problem the first day you meet him, all of 20 to his rising-60, you have to know you are Someone. And Someone Genesis was, and became, and remained until their death from leukemia at seventy.
The entire review is posted at Expendable Mudge Muses Aloud.
August 18, 2021
I did an in depth discussion on why this book falls so short of being a memoir and the truth
https://youtu.be/40lyUnYuwh4
https://youtu.be/40lyUnYuwh4
Read
December 23, 2021This is an odd memoir, I went into this book with the intention of learning more about the origins of Throbbing Gristle and industrial, as well as more about Genesis and their gender identity. As the book is called 'Nonbinary' I expected the emphasis to be on gender and identity, but the majority of the book, as in ALL of the book save for the last fifty or so pages, is on Genesis's life, growing up, early days in the industrial music scene. Which, frankly is only interesting to people interested in their music. The final section, focusing on Genesis's relationship with Lady Jaye and the Pandrogeny project is a fascinating look at gender expression (though I think some exploration of gender identity vs gender expression would have been valuable here, as well as whether this project was really about connection and the human experience), and 'short-circuiting control' which appears to be the running thesis posited in the introduction, completely abandoned, and then brought up in the closing section.
I think in short, rating this memoir is impossible because it is a memoir of someone's life up until about 1990, then abandoned, and then a miniscule section on was conceived and possibly outlined on the Pandrogeny project but not realized because of Genesis's death, and finished by the co-author. The book should be titled something relating to Genesis's life and not something to do with the Pandrogeny project when frankly that's not the focus of the book.
I think in short, rating this memoir is impossible because it is a memoir of someone's life up until about 1990, then abandoned, and then a miniscule section on was conceived and possibly outlined on the Pandrogeny project but not realized because of Genesis's death, and finished by the co-author. The book should be titled something relating to Genesis's life and not something to do with the Pandrogeny project when frankly that's not the focus of the book.
February 25, 2022
If you love Gen, you'll love this book and roll your eyes. If you hate Gen, you'll hate this book and roll your eyes.
I'm not sure why reviews complain about the title. The ending of the book clearly explains the use of the word.
I'm not sure why reviews complain about the title. The ending of the book clearly explains the use of the word.
July 26, 2021
An excellent portrait of one of the most interesting, boundary-smashing lives ever lived.
May 15, 2022
A fascinating but skewed read on a very complex figure. If you know GPO lore outside of this book, it's clear that much is skipped or glossed over in a I Can Do No Wrong They Hate Me cus I'm a Rebel kind of way. Ill have to read Cosey's memoirs next. I would recommend if you're interested, just as the other comments say, take the stories with a grain of salt as this comes from one of the most legendary weirdos of all time, for the good and bad that brings
August 1, 2023
Undoubtedly interesting and unashamedly artistic. Having a mild interest in TG and Pyshcic TV prior to reading this, didn't prepare me for the unrelenting amount of self agrandisation regarding their impact on a variety of 'important' artistic moments.
November 19, 2022
For good and ill, this gives a good sense of who Genesis was and what conceptual through-lines exist through the arc of their creative life. Some of the influences they cite are both surprising and illuminating (e.g. Sinatra; hippy culture, etc.). Still, the whole thing is driven by haphazard and dubious anecdotes, and while perhaps counter to the spirit of the author, I'd be curious how much content stands up to fact checking (where possible).
December 14, 2021
Finished after an insanely long reading hiatus. A bit long and meandering but I guess that’s what makes it a comprehensive memoir. Some good bits for sure
December 23, 2022
When I was much younger I read Gen's words and was inspired and felt the freedom. Likewise this antibiography is evidence of their quest to live in art! An inspiring and uncomfortable life, I am so glad they created!
August 20, 2021
[review written by someone who had never heard a single
piece of music by Genesis and still has not. smh.]
This is a pretty tough and dry read at times. I found myself racing thru some chapters to get to the more “entertaining” parts. There’s a lot to get through but it’s written in some of the most intimate and thoughtful ways I’ve read in any memoirs. The Ian Curtis chapter is absolutely devastating and harrowing. Regardless of my tough time, by the end of it I learned that the life that Gen lived was astonishing.
RIP Genesis.
piece of music by Genesis and still has not. smh.]
This is a pretty tough and dry read at times. I found myself racing thru some chapters to get to the more “entertaining” parts. There’s a lot to get through but it’s written in some of the most intimate and thoughtful ways I’ve read in any memoirs. The Ian Curtis chapter is absolutely devastating and harrowing. Regardless of my tough time, by the end of it I learned that the life that Gen lived was astonishing.
RIP Genesis.
February 26, 2022
Despite having to constantly remind my self to take what is said throughout this book with endless pinches of salt, I still found Genesis’ experiences and takes on a variety of topics to be a good read.
November 26, 2023
I devoured the book.
Counter-cultural icon, Genesis P. Orridge dedicated their radical life to shattering the status quo, challenging societal norms, and battling the homogenization of culture. Their existence was a deliberate venture beyond the conventional frame, continually pushing boundaries and smashing preconceptions—not without consequences (lawsuits, defamation, alienation, and so on). Unafraid of disappointing audiences, they firmly believed that art's purpose lies somehow in defying expectations; when art is accepted without challenge, its impact and revolutionary potential diminish.
Genesis perceived the art world as a service industry catering to the wealthy, a spiral into the realms of careerism and celebrity, “a new stock market”. Thus, their legacy reflects foremost a profound contemplation of the role of artists and the essence of art itself. They posed vital questions about the purpose of making art and music, emphasizing that, if it doesn't convey something novel or enhance our understanding of life, it’s nothing but “deceptive art”. “Are you trying to tell us something, or are you just trying to make music? If you're trying to make music, why? Is that to sell? Is that to get girls or boys or drugs or what? If it's not about telling us something, preferably something we didn't know before, then it's not really worthwhile.” And further: “Is a work enhancing our understanding of being alive with sense and intelligence? What is this work sharing with all humanity that has the potential to release wisdom?”
For Genesis, the power of art resided in its constant process of change, a perpetual push to expand perceptions and deepen our comprehension of existence. A philosophical quest, a pursuit of the meaning of life, and an understanding of mortality. Art is not supposed to be about careers. It's not supposed to be about someone who's just desperately trying to express something. It is supposed to be about stripping away hypocrisy, revealing the true essence of life. And life is about finding satisfaction in oneself each day.
Genesis embraced the notion of a universal energy, a force that fueled the imperative for individuals to engage in art-making or creating. Every person possesses the latent ability to tap into this wellspring of creativity, everyone has far more ability to process and express things that they've been told by their society. The hitch lies in the relinquishment of autonomy—a tradeoff willingly made for the ease of conforming to societal expectations.
Another aspect of Genesis' legacy is the example of self-determination and independent creativity they set. They were committed to the tenet that art is life, with a remarkable coherency throughout their life. From adolescence onward, they dedicated themselves to stripping down personality, habits, loops, and any laziness in terms of how we relate to things, respond to things or analyze things —using their body as a form of leverage within society. Through performances and rituals, often involving sexual taboos, they sought to “short-circuit control”. To liberate –individual and collective– power and imagination from social conditioning. Their efforts were geared towards understanding the effects of sensory deprivation on the mind and consciousness, “cutting-up” normal behavior and neurological programming to reach the essence.
With the Pandrogyny project, Genesis and Lady Jaye brought to the extreme the notion of using their body as propaganda to convey an idea. Those who claim to be disappointed or disoriented by the title possibly misunderstood the message. Whilst not denying the importance of current discussions on the topic, gender is a red-herring distraction as an issue. It should not matter. As the ultimate symbol of societal conditioning, Pandrogyny symbolized the deconstruction of these hallucinatory limits. Genesis' message revolved around the reclamation of the right –and the determination to embrace that right– to shape one's unique identity and life narrative, free of intrusion and interference. Pandrogyny operated a change of paradigm, challenging binary systems and advocating for a metaphysical oneness of the human species.
The Pandrogyny project constitutes a very Foucauldian endeavour. Since the 18th century, Foucault identifies a new form of power –biopower– as the totality of mechanisms through which the fundamental biological characteristics of the human species are constituted as such, controlled and normalized through a process of “subjection”. Normalization is used as a form of modern governmentality, disciplining people’s bodies and minds. The more we feel we are freeing ourselves through the proliferation of identities that modernity seems to offer to us, the more we get caught in the system of governmentality. Foucault’s constitution of the subject through biopower leaves space for agency, namely for self-creation, and potentially self-transformation. The “care of the self” –namely having critical awareness of oneself and of one’s environment– is the first step towards changing the power relations into which one fits; it is a practice that preserves freedom, self-creation, and self-governance. Having the awareness that the limits of our subjectivities are not inescapable, opens a field of theoretically infinite possibilities. The “third being” conceptualized and materialized in the “pandrogyne” through the fusion of physical male and female, constitutes the liberation of the mind and perception, the liberation of the body, and ultimately, the beginning of a sort of evolution. In fact, Genesis claimed that Pandrogyny did nothing but reflect an inevitable law of evolution, just like industrial music developed as a new kind of music that was inescapable. This ability to interpret the zeitgeist and manifest it into the cultural matrix earned him the designation not only of a pioneer but of a “cultural engineer”.
However, any discussion of their invaluable heritage must acknowledge the hideous side of their life, including abusive behaviours documented in Cosey's memoir. In “Art Sex Music” (though her autobiography pales in comparison to Genesis's in terms of both style and the depth of ideas explored), she chronicles instances of physical attacks, the theft of her creative credit, and near-mortal encounters instigated by Genesis. It's probably undeniable that Throbbing Gristle, COUM, and TOPY wouldn't have existed without Genesis, but credit must also be given to the essential platforms provided by Cosey, Sleazy, Chris, and others—crucial stages where Genesis could showcase, deepen and disseminate their ideas.
Other deliberately stolen ideas I spotted include the inscription “We have nothing to say and we’re saying it” on the back of the record “Early Worm”, published in 1967 (the quote “I have nothing to say and I am saying it” appears in John Cage’s “Lecture on Nothing” from 1959 – something Genesis had surely read), and the radical gesture of including nasty comments on the back of TG’s album covers (the firsts to do so were The Velvet Underground in their first album with Nico – a band which was highly influential on Genesis).
Accusations of Genesis’ manipulation, both of people and reality, are abundant. De facto, the book itself becomes a masterful manipulation of reality. What's striking, yet nonetheless fascinating, is the seamless and progressive narrative of their life, where every piece fits together with precision. From COUM as a theoretical underpinning that materialized into life through performance to Throbbing Gristle – a musical inevitability. From the Thee Temple ov Psychick Youth – manifesting the resurgence of contemporary magickal forms and body modifications – to Pandrogyny as an emblem of radical new perspectives of the body and gender. This interconnected journey, as believed by Genesis, not only resonates with their vision but, to some extent, becomes a reality in the eyes of others. It's a narrative that I, too, found myself believing in. Other than being a pioneer performance artist, thinker and cultural engineer, Genesis was in fact an exceptional writer. And, surely, Genesis' way with words adds grist to their mill.
While we must grapple with the complex legacies of the icons we care to follow, acknowledging the ugly truths of Genesis P-Orridge's life doesn't diminish their profound contributions to art and music. Nor I believe that we should shy away from the (possibly life-changing) experience of listening to the music of TG or PTV3. Personally, this book still served as a huge inspiration, prompting me to question who I truly aspire to be, and equipping me with valuable tools to peel away superficial layers of the self and embark on a journey “to build the you that you really want to be”.
Counter-cultural icon, Genesis P. Orridge dedicated their radical life to shattering the status quo, challenging societal norms, and battling the homogenization of culture. Their existence was a deliberate venture beyond the conventional frame, continually pushing boundaries and smashing preconceptions—not without consequences (lawsuits, defamation, alienation, and so on). Unafraid of disappointing audiences, they firmly believed that art's purpose lies somehow in defying expectations; when art is accepted without challenge, its impact and revolutionary potential diminish.
Genesis perceived the art world as a service industry catering to the wealthy, a spiral into the realms of careerism and celebrity, “a new stock market”. Thus, their legacy reflects foremost a profound contemplation of the role of artists and the essence of art itself. They posed vital questions about the purpose of making art and music, emphasizing that, if it doesn't convey something novel or enhance our understanding of life, it’s nothing but “deceptive art”. “Are you trying to tell us something, or are you just trying to make music? If you're trying to make music, why? Is that to sell? Is that to get girls or boys or drugs or what? If it's not about telling us something, preferably something we didn't know before, then it's not really worthwhile.” And further: “Is a work enhancing our understanding of being alive with sense and intelligence? What is this work sharing with all humanity that has the potential to release wisdom?”
For Genesis, the power of art resided in its constant process of change, a perpetual push to expand perceptions and deepen our comprehension of existence. A philosophical quest, a pursuit of the meaning of life, and an understanding of mortality. Art is not supposed to be about careers. It's not supposed to be about someone who's just desperately trying to express something. It is supposed to be about stripping away hypocrisy, revealing the true essence of life. And life is about finding satisfaction in oneself each day.
Genesis embraced the notion of a universal energy, a force that fueled the imperative for individuals to engage in art-making or creating. Every person possesses the latent ability to tap into this wellspring of creativity, everyone has far more ability to process and express things that they've been told by their society. The hitch lies in the relinquishment of autonomy—a tradeoff willingly made for the ease of conforming to societal expectations.
Another aspect of Genesis' legacy is the example of self-determination and independent creativity they set. They were committed to the tenet that art is life, with a remarkable coherency throughout their life. From adolescence onward, they dedicated themselves to stripping down personality, habits, loops, and any laziness in terms of how we relate to things, respond to things or analyze things —using their body as a form of leverage within society. Through performances and rituals, often involving sexual taboos, they sought to “short-circuit control”. To liberate –individual and collective– power and imagination from social conditioning. Their efforts were geared towards understanding the effects of sensory deprivation on the mind and consciousness, “cutting-up” normal behavior and neurological programming to reach the essence.
With the Pandrogyny project, Genesis and Lady Jaye brought to the extreme the notion of using their body as propaganda to convey an idea. Those who claim to be disappointed or disoriented by the title possibly misunderstood the message. Whilst not denying the importance of current discussions on the topic, gender is a red-herring distraction as an issue. It should not matter. As the ultimate symbol of societal conditioning, Pandrogyny symbolized the deconstruction of these hallucinatory limits. Genesis' message revolved around the reclamation of the right –and the determination to embrace that right– to shape one's unique identity and life narrative, free of intrusion and interference. Pandrogyny operated a change of paradigm, challenging binary systems and advocating for a metaphysical oneness of the human species.
The Pandrogyny project constitutes a very Foucauldian endeavour. Since the 18th century, Foucault identifies a new form of power –biopower– as the totality of mechanisms through which the fundamental biological characteristics of the human species are constituted as such, controlled and normalized through a process of “subjection”. Normalization is used as a form of modern governmentality, disciplining people’s bodies and minds. The more we feel we are freeing ourselves through the proliferation of identities that modernity seems to offer to us, the more we get caught in the system of governmentality. Foucault’s constitution of the subject through biopower leaves space for agency, namely for self-creation, and potentially self-transformation. The “care of the self” –namely having critical awareness of oneself and of one’s environment– is the first step towards changing the power relations into which one fits; it is a practice that preserves freedom, self-creation, and self-governance. Having the awareness that the limits of our subjectivities are not inescapable, opens a field of theoretically infinite possibilities. The “third being” conceptualized and materialized in the “pandrogyne” through the fusion of physical male and female, constitutes the liberation of the mind and perception, the liberation of the body, and ultimately, the beginning of a sort of evolution. In fact, Genesis claimed that Pandrogyny did nothing but reflect an inevitable law of evolution, just like industrial music developed as a new kind of music that was inescapable. This ability to interpret the zeitgeist and manifest it into the cultural matrix earned him the designation not only of a pioneer but of a “cultural engineer”.
However, any discussion of their invaluable heritage must acknowledge the hideous side of their life, including abusive behaviours documented in Cosey's memoir. In “Art Sex Music” (though her autobiography pales in comparison to Genesis's in terms of both style and the depth of ideas explored), she chronicles instances of physical attacks, the theft of her creative credit, and near-mortal encounters instigated by Genesis. It's probably undeniable that Throbbing Gristle, COUM, and TOPY wouldn't have existed without Genesis, but credit must also be given to the essential platforms provided by Cosey, Sleazy, Chris, and others—crucial stages where Genesis could showcase, deepen and disseminate their ideas.
Other deliberately stolen ideas I spotted include the inscription “We have nothing to say and we’re saying it” on the back of the record “Early Worm”, published in 1967 (the quote “I have nothing to say and I am saying it” appears in John Cage’s “Lecture on Nothing” from 1959 – something Genesis had surely read), and the radical gesture of including nasty comments on the back of TG’s album covers (the firsts to do so were The Velvet Underground in their first album with Nico – a band which was highly influential on Genesis).
Accusations of Genesis’ manipulation, both of people and reality, are abundant. De facto, the book itself becomes a masterful manipulation of reality. What's striking, yet nonetheless fascinating, is the seamless and progressive narrative of their life, where every piece fits together with precision. From COUM as a theoretical underpinning that materialized into life through performance to Throbbing Gristle – a musical inevitability. From the Thee Temple ov Psychick Youth – manifesting the resurgence of contemporary magickal forms and body modifications – to Pandrogyny as an emblem of radical new perspectives of the body and gender. This interconnected journey, as believed by Genesis, not only resonates with their vision but, to some extent, becomes a reality in the eyes of others. It's a narrative that I, too, found myself believing in. Other than being a pioneer performance artist, thinker and cultural engineer, Genesis was in fact an exceptional writer. And, surely, Genesis' way with words adds grist to their mill.
While we must grapple with the complex legacies of the icons we care to follow, acknowledging the ugly truths of Genesis P-Orridge's life doesn't diminish their profound contributions to art and music. Nor I believe that we should shy away from the (possibly life-changing) experience of listening to the music of TG or PTV3. Personally, this book still served as a huge inspiration, prompting me to question who I truly aspire to be, and equipping me with valuable tools to peel away superficial layers of the self and embark on a journey “to build the you that you really want to be”.
November 12, 2021
An Evening With Genesis Breyer P-Orridge - The Coffee Table Version.
i loved (and still love) throbbing gristle, the biggest ever v-sgn to trad rock! even buying their records, at the time, was akin to buying porn in a brown paper bag - all my punk mates hated them, no. virtually everybody hated them.......it was great! indeed it was cutting edge stuff, which held me rapt up until after psychic tv's first couple of albums, when they kinda descended into what they were first fighting against....interest dwindled, and even the 2004 t.g. reformation passed me by without much notice (in retrospect, the material recorded then is top notch!), so here we are, autobiography time! to be fair, unfinished autobiography time!
did i enjoy reading this book? yes i did.
did i think it's an accurate record of events? no.
did the events in the book happen? for the most part, yes.
did he omit a lot of questionable actions that they're known to have taken? yes.
is there any way the events in this book unfolded as seamlessly as described? no.
was throbbing gristle all them? no (the 4 individuals were essential to the essence of t.g.)
does the book FEEL unfinished, certain issues (such as pandrogeny) glossed over. yes.
am i glad i read it. yes, yes i am.
it's either been sanitised for the masses, or maybe they were experiencing 'revenge of memory'!
i loved (and still love) throbbing gristle, the biggest ever v-sgn to trad rock! even buying their records, at the time, was akin to buying porn in a brown paper bag - all my punk mates hated them, no. virtually everybody hated them.......it was great! indeed it was cutting edge stuff, which held me rapt up until after psychic tv's first couple of albums, when they kinda descended into what they were first fighting against....interest dwindled, and even the 2004 t.g. reformation passed me by without much notice (in retrospect, the material recorded then is top notch!), so here we are, autobiography time! to be fair, unfinished autobiography time!
did i enjoy reading this book? yes i did.
did i think it's an accurate record of events? no.
did the events in the book happen? for the most part, yes.
did he omit a lot of questionable actions that they're known to have taken? yes.
is there any way the events in this book unfolded as seamlessly as described? no.
was throbbing gristle all them? no (the 4 individuals were essential to the essence of t.g.)
does the book FEEL unfinished, certain issues (such as pandrogeny) glossed over. yes.
am i glad i read it. yes, yes i am.
it's either been sanitised for the masses, or maybe they were experiencing 'revenge of memory'!
October 8, 2021
Britain has always been the hoster of modern gothic subculture, from the early 1400s due to the Anglo saxonic invasion from the gothic or German tribes to West coast Britain, to the rise of romanticism and gothisesim during the late 1700s, and even to the progressive post-punk, new dark wave Era during the 1960s.
What can be proved for sure, that the art sence has always been influenced by the circumstances it found itself growing into it, and that's similar to the set of space and time in which such rhythmical way of expiration, like musical bands such as The Beatles,
The doors, Joy division, and Roxy Music, and other artists as well whom they find themselves influenced by the broading horizons of the east, such as India.
Such influence had found its reflection on the music of these Era, where we find such themes likd psychic spirituality, cut-ups experiences, magic tricks, and gender fluidity, where all introduced to the musical theme, that's the limit of its expansion is no longer standing on the border of Jazz and classic music.
during the late 1960s, there where the story of Neil Andrew Megson, or as how s/he like to be named over the 1st book of the Bible; Genesis, when s/he first pressed to change their birth name at 197
What can be proved for sure, that the art sence has always been influenced by the circumstances it found itself growing into it, and that's similar to the set of space and time in which such rhythmical way of expiration, like musical bands such as The Beatles,
The doors, Joy division, and Roxy Music, and other artists as well whom they find themselves influenced by the broading horizons of the east, such as India.
Such influence had found its reflection on the music of these Era, where we find such themes likd psychic spirituality, cut-ups experiences, magic tricks, and gender fluidity, where all introduced to the musical theme, that's the limit of its expansion is no longer standing on the border of Jazz and classic music.
during the late 1960s, there where the story of Neil Andrew Megson, or as how s/he like to be named over the 1st book of the Bible; Genesis, when s/he first pressed to change their birth name at 197
October 2, 2021
This is a story. A Very special story.
Nonbinary was not my introduction to Genesis P-Orridge. I had heard of them for quite sometime and was always intrigued by their art. This story is incredible. A detailed history of a truly inspiring individual. Leaving a life many people dare not live, Genesis did so great things for culture. Highly recommend for any and every person to read.
Nonbinary was not my introduction to Genesis P-Orridge. I had heard of them for quite sometime and was always intrigued by their art. This story is incredible. A detailed history of a truly inspiring individual. Leaving a life many people dare not live, Genesis did so great things for culture. Highly recommend for any and every person to read.
January 14, 2022
I found the sections on the formation of Throbbing Gristle and their later Pandrogeny Project to be the most interesting. The Psychic TV/Thee Temple Ov Psychic Youth cultish period was not so interesting. Plus, there is still that nagging abusive side of their life, which is sort of obliquely referred to, but not explicitly addressed; this is a major flaw of the book. 2.5 stars rounded up.
December 5, 2021
An unfinished memoir from an unreliable narrator. The book is at its best as Genesis recalls motivations and interest from childhood. By the time Throbbing Gristle starts to be covered, the text feels full of redactions, time skips, edits, shadows.
January 22, 2024
The nutshell: This was a great, engaging read with loads of good dirt, historical context, and thoughtful takes, exactly what I've been looking for. My rating is about this being a well-written and exciting book with plenty to mull over and apply to creative pursuits.
I went into the book somewhat blindly, and admittedly don't have the patience for Throbbing Gristle; really, I'd just read a bit about Genesis and partner Lady Jaye after stumbling onto h/er final Instagram posts about being stuck in the "horse pistol" and "going home." The concept of pandrogyny initially sounded a bit bonkers, if not unusually intense, though to hear Genesis' take here, which goes beyond standard trans terminology and suggests that gender is not fluid but entirely arbitrary, I get the feeling s/he was well ahead of their time. Would call it enlightenment but that feels a bit loaded. What is new is the use of the "we" pronoun, the idea that two people could be two halves and each could be a "we" once they'd come together and been made whole. (Likewise, dying just means "dropping the body.")
The first half of Nonbinary is a fantastic lesson on post-war England and then it gets into the environments that led to COUM, Throbbing Gristle, and Psychic TV, but there are also great stories about "discovering" Billy Idol, last conversations with Ian Curtis, and what it meant to start a family and be literally saved by Winona Ryder's parents (didn't see that coming). And god, the Lady Jaye section, how suing Rick Rubin financially enabled the creation of the Pandrogyne. There's also loads of great sex, compliments to everyone mentioned. But the really big point of this book is what got me -- that art is the product of your environment and has context, and that everything is permitted. Which sounds really obvious here, but is beautifully articulated throughout the book, as one event leads to another, including the connection between cut-up poetry and the third mind and how the concept of the third mind applies to the Pandrogyne. It's a well-written memoir, told at the end of h/er life with a co-writer, but there are so many great ideas here that I'll be referring back to.
The other bit: From what I've seen, Cosey's memoir alleges that Genesis had been abusive during their relationship. And first wife Paula has accused Genesis of cutting her out of the Psychic TV history, and holding her back from her education in order to join the band (the way it was written here, she'd had more agency in the decision, but she'd also been a teenager when they met). Meanwhile, Genesis suggests in this book that Paula hit their kids and was manipulative for the sake of child support, while Paula suggests elsewhere that she did the real parenting early on. So I don't know how reliable the perspective is here, and there’s no doubt some manipulation and control at play, but there's also a difference between who you are at 30 and who you are at 70, and sometimes there's shame in remembering who you've been, so some things may have been glossed over.
I went into the book somewhat blindly, and admittedly don't have the patience for Throbbing Gristle; really, I'd just read a bit about Genesis and partner Lady Jaye after stumbling onto h/er final Instagram posts about being stuck in the "horse pistol" and "going home." The concept of pandrogyny initially sounded a bit bonkers, if not unusually intense, though to hear Genesis' take here, which goes beyond standard trans terminology and suggests that gender is not fluid but entirely arbitrary, I get the feeling s/he was well ahead of their time. Would call it enlightenment but that feels a bit loaded. What is new is the use of the "we" pronoun, the idea that two people could be two halves and each could be a "we" once they'd come together and been made whole. (Likewise, dying just means "dropping the body.")
The first half of Nonbinary is a fantastic lesson on post-war England and then it gets into the environments that led to COUM, Throbbing Gristle, and Psychic TV, but there are also great stories about "discovering" Billy Idol, last conversations with Ian Curtis, and what it meant to start a family and be literally saved by Winona Ryder's parents (didn't see that coming). And god, the Lady Jaye section, how suing Rick Rubin financially enabled the creation of the Pandrogyne. There's also loads of great sex, compliments to everyone mentioned. But the really big point of this book is what got me -- that art is the product of your environment and has context, and that everything is permitted. Which sounds really obvious here, but is beautifully articulated throughout the book, as one event leads to another, including the connection between cut-up poetry and the third mind and how the concept of the third mind applies to the Pandrogyne. It's a well-written memoir, told at the end of h/er life with a co-writer, but there are so many great ideas here that I'll be referring back to.
The other bit: From what I've seen, Cosey's memoir alleges that Genesis had been abusive during their relationship. And first wife Paula has accused Genesis of cutting her out of the Psychic TV history, and holding her back from her education in order to join the band (the way it was written here, she'd had more agency in the decision, but she'd also been a teenager when they met). Meanwhile, Genesis suggests in this book that Paula hit their kids and was manipulative for the sake of child support, while Paula suggests elsewhere that she did the real parenting early on. So I don't know how reliable the perspective is here, and there’s no doubt some manipulation and control at play, but there's also a difference between who you are at 30 and who you are at 70, and sometimes there's shame in remembering who you've been, so some things may have been glossed over.
March 24, 2024
Unknowingly, I began reading this on the 4th anniversary of our author dropping their body. And finished on the 23rd. I think s/he would have found that auspicious. I approached the book cautiously, having read Cosey Fanni Tutti’s ArtSexMusic autobiography. But 2/3 of the way through it I began to warm to Gen’s approach on how to tell h/er story. As a point of entry to their life, this is not the way in. But it’s a necessary contribution to the person who envisioned radical performance art, seeded the ground for all industrial music, the modern primitive movement and more: the dissolution of the binary aspects of existence. The memoir struck me as a person trying to come to terms with a problematic past. One that on the outside, may have appeared violent, incoherent, irrational. The through line, emphasized here, was that, despite misanthropy and obstinate resistance to society’s mores, there a desire to connect and encourage others to take more control of their own lives. Genesis’ life was nothing less than a heroic resistance to status quo not as a formula to follow, but as an example of empowerment. That passion will certainly, at times, result in friction with others and generate a negative reputation. I had already been convinced previously that they had found more happiness, genuine l-ov-e and contentment in the last ~25 years of their career than anything prior, but reading the book confirms this. The person that found union with Lady Jaye, explored the dissolution of gender and emphasized almost a flower-power level of desire for community was a being I certainly would have l-ov-ed to have met. The book ends semi-incomplete as this was being written when it was time for Gen to go.
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As an aside, having just finished Will Hermes biography of Lou Reed, I was hoping to learn that the two would have come to know each other while in NY. Perhaps it was a ‘never meet your heroes’ situation, so there is no mention of it. VU had a huge influence on G P-O; Lou’s own transgressive life and non-binariness seems like they would have been kindred spirits.
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As an aside, having just finished Will Hermes biography of Lou Reed, I was hoping to learn that the two would have come to know each other while in NY. Perhaps it was a ‘never meet your heroes’ situation, so there is no mention of it. VU had a huge influence on G P-O; Lou’s own transgressive life and non-binariness seems like they would have been kindred spirits.
August 1, 2023
I read this as a fan of both TG and Psychic TV, if not of Gen themself; there are too many other accounts of their misdeeds (including, but not limited to, those contained in Cosey's book) to be rebutted by anything they wrote herein. It's worth stating here that if your interest is musical, then this book probably isn't worth the effort; there is little of interest written on TG and almost nothing - aside from an interesting anecdote about the "hit single" (according to Gen anyway) 'Godstar' - on Psychic TV. If the book appears to end rather abruptly it's because P-Orridge died before the work was completed.
There's no doubt they were an interesting person; an agent provocateur pushing at the boundaries, and that their innate need to confound expectations led PTV off in all sorts of (usually) interesting musical directions. Once the account of Gen's childhood is out of the way, however, I would not trust much of what is written here in terms of factual veracity. The section about Ian Curtis stands out in this respect, the only sources cited - Rob Gretton, Annik Honore, Tony Wilson - are conveniently all dead. It seems odd too, that Gen can't put a name to the person he rang in Manchester over his concerns about Curtis' well being.
Perhaps tellingly, Gen refers to Aleister Crowley as "a dick" but goes on to admit that some of what he wrote was useful, going on to emphasise the necessity sometimes to separate the work from the person... I do feel that this advice applies as equally to Genesis P-Orridge himself.
There's no doubt they were an interesting person; an agent provocateur pushing at the boundaries, and that their innate need to confound expectations led PTV off in all sorts of (usually) interesting musical directions. Once the account of Gen's childhood is out of the way, however, I would not trust much of what is written here in terms of factual veracity. The section about Ian Curtis stands out in this respect, the only sources cited - Rob Gretton, Annik Honore, Tony Wilson - are conveniently all dead. It seems odd too, that Gen can't put a name to the person he rang in Manchester over his concerns about Curtis' well being.
Perhaps tellingly, Gen refers to Aleister Crowley as "a dick" but goes on to admit that some of what he wrote was useful, going on to emphasise the necessity sometimes to separate the work from the person... I do feel that this advice applies as equally to Genesis P-Orridge himself.
July 18, 2023
My therapist recommended this book to me, and I feel read to filth after finishing it. Main takeaway is nothing matters and societal rules aren’t real ! ! ! I feel like reading this has completely changed how I perceive myself and the world entirely. It’s a whole new perspective on what it means to become who you are, how you interact with the world, and how to live creatively. It’s a very wacky little read about a counter cultural icon’s ideas that I hate to have only found out about after their passing but god am I thankful for the societal outcasts like them who make it feel a little less weird to be weird. I still don’t feel like I know much about Genesis but I think that’s part of the point. If you are a creative person, a person who struggles to feel belonging, someone who struggles with societal norms, an enneagram 4, or just someone who would like to learn how to live creatively, you NEED to read this book. It challenges basically every idea about music and art and performance and life in general. It makes me feel affirmed in my disdain for the money hungry lifelessness that is the music industry and how it sucks the art out of artists instead of just letting them be who they are. You’ll still never catch me jamming to a Throbbing Gristle song, but the life lessons and nuggets of wisdom I’ve taken from this damn book are invaluable. And also I’m probably going to change my name one day lol. ⭐️⭐️⭐️⭐️⭐️ for this absolutely unhinged but beautiful book.
September 5, 2021
There are moments of grace and brilliant social insight, compassionate family histories, creative aha! moments and jaw-dropping anecdotes about many of the notable and notorious characters Genesis encountered throughout some fascinating cultural eras— especially the formation of COUM Transmissions. Those are my favorite swatches in this grab bag of memories. It all seems to skim lightly over a vast expanse of intensities, which makes sense considering the dropping-the-body context in which Genesis composed this. The dysfunctional relationship squabbles are tedious and annoying. One binary Gen was unable to smash was one of self-aggrandization/martyrdom. Or maybe they did eventually blend together after 1981, however I started rapidly skimming the skim at the line, "I was going to make the occult trendy again" on p. 253, so I may have missed something.
May 2, 2022
I spotted this in an LGBT bookshop, thinking it was a book about the nonbinary identity. Later, I realised it was a memoir about an artist I had never heard of before, though they are credited as being an influential figure in the ugliest musical genre I have ever heard: industrial music. While reading chapters of this book, I tried to listen to some songs by Genesis’s band, Throbbing Gristle. It was like rubbing my eardrums against a cheese-grater.
The memoir ends at an odd place due to the fact that Genesis passed away midway through writing it. There is some discussion about challenging gender, but Genesis does not give the level of detail to Pandrogeny as they do with their earlier projects. I feel like this memoir is mis-titled as being nonbinary is not the focus of this book, just the final project Genesis was working on.
The memoir ends at an odd place due to the fact that Genesis passed away midway through writing it. There is some discussion about challenging gender, but Genesis does not give the level of detail to Pandrogeny as they do with their earlier projects. I feel like this memoir is mis-titled as being nonbinary is not the focus of this book, just the final project Genesis was working on.
June 7, 2023
psychic tv is my least favorite TG related project and i have never cared much for genesis. that said, the book is a great read. it’s obvious some things are straight up lies and exaggerations, especially if you’ve read about some events told in this book elsewhere, but it doesn’t make it any less interesting. the best bits to me are where you can tell he’s being sincere but those moments are usually reserved to praise people he admired or cared for, moments overshadowed hard by his downplaying of people’s importance in his life and art projects (like chris carter’s role in TG), in some cases straight up omissions or one time mentions that come off as petty. but it’s fun overall. genesis was a real entertainer until the end.
July 17, 2022
Genesis's autobiography although quite enjoyable I found a little barebone concerning wanting to get their narrative on their tenure in COUM/Gristle etc, as just isn't a lot about it in this book. It trails along in places but gives a bit of insight into their often eccentric and innovative character. for real reading on their bands, i do suggest if you can find it "wreckers of civilisation" as that gives a full none abridged history of COUM and Gristle, and then follow that up with Cosey's tell-all book of being involved with Gen. aside from that I can only recommend reading this book to the diehard TG/Genesis fans out there.
June 8, 2023
I liked this more than I expected. It did ramble in parts but the basic historical elements were interesting. It was also curious to read it after reading Cosi Fani Tutti's bio as it shows a very different perspective on similar events (in much less detail). He definitely had a fascinating life, I think he showed a similar personality to many compelling guru-type figures where they lose a bit of humanity through the adoration of their followers.
I did meet him once and found he was pretty hard work but maybe I was trying to 'compete' in terms of cult knowledge...
I did meet him once and found he was pretty hard work but maybe I was trying to 'compete' in terms of cult knowledge...
September 14, 2022
Weird book. Sure it would have been fleshed out if Genesis were still with us, but calling it ‘Nonbinary’ then having only ten pages dedicated to the Pandrogyne Project seemed odd.
The COUM/Throbbing Gristle stuff is interesting, but it almost seems like an afterthought compared to the first half of the book, which just focuses on Genesis’ upbringing. Would recommend to fans, but not sure how much someone would enjoy this if they were given no context of who Genesis was.
The COUM/Throbbing Gristle stuff is interesting, but it almost seems like an afterthought compared to the first half of the book, which just focuses on Genesis’ upbringing. Would recommend to fans, but not sure how much someone would enjoy this if they were given no context of who Genesis was.
August 15, 2021
One of the most open and compelling biographies I’ve ever read. I was already familiar with Psychic TV and then delving into Throbbing Gristle.
It’s a shame I don’t have as much Psychic TV (usually can’t find anything locally and overpriced sellers.)
I recommend this for fans and those who are just discovering their work.
It’s a shame I don’t have as much Psychic TV (usually can’t find anything locally and overpriced sellers.)
I recommend this for fans and those who are just discovering their work.
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