7/2/1996 San Francisco
About 75 people gathered in front of the stage. The
curtains were drawn. Two performers then used staple-
guns to break and shatter a stack of 81 LP records.
Placed on a small table, the records had been bolted
together. The longer the stapling, the shorter the
stack. Staples and cracked vinyl were spraying about;
hitting many in the audience. Both staple-guns were
mounted with contact-mics. A third performer was
processing the resulting sounds into a loud multitude
of rhythms. Some members of the club audience threw
things at the performers during most of the 20 minute
performance. Applause & cheers followed. Entitled
"Mind The Gap". (#226)
20/4/1996 Northampton
For 20 minutes Jupitter-Larsen used a staple-gun to
break and shatter a stack of 91 LP records. Placed on
a small table, the records had been bolted together.
The longer the stapling, the shorter the stack.
Staples and cracked vinyl sprayed about. The staple-
gun was mounted with two contact-mics. The resulting
sounds were a loud and harsh distortion. Applause &
cheers followed. Entitled "Mind The Gap". (#227)
22/4/1996 Lowell
For 20 minutes Jupitter-Larsen stapled 101 LP records
to a large TV set. Placed on a small table, the
records had been bolted together. The longer the
stapling, the shorter the stack. Staples and cracked
vinyl sprayed about. His staple-gun was mounted with
two contact-mics. The TV was tuned to an empty
channel. The stapling and TV static were amplified and
mixed together. Applause & cheers followed. Entitled
"Mind The Gap". (#228)
23/4/1996 Boston
The club staff became panic-stricken by the presence
of the unconventional gathering, and The Haters were
kicked off stage before they got the chance to set up.
(#229)
25/4/1996 Concord N.H.
For 20 minutes Jupitter-Larsen used a staple-gun to
break and shatter a stack of 111 LP records. Staples
and cracked vinyl sprayed about. The staple-gun was
mounted with two contact-mics. The resulting sounds
were loud. Applause & cheers followed. Entitled "Mind
The Gap". (#230)
26/4/1996 Boston
For 20 minutes Jupitter-Larsen used a staple-gun to
break and shatter a stack of 121 LP records. Staples
and cracked vinyl sprayed about. The staple-gun was
mounted with two contact-mics. The resulting sounds
started out as a loud erratic pounding and slowly
progessed into a wall of total unadulterated feedback
for the last 10 minutes of the show. Applause & cheers
followed. Entitled "Mind The Gap". (#231)
30/5/1996 San Francisco
Staged at the Channel 53 studios, one performer
stapled 131 CDs to a car tire which a second performer
was wearing over his shoulder. The staple-gun was
mounted with contact-mic. A third performer was
processing the resulting sounds into a wall of
distortion mixed with static. The show was televised
live on Channel 53 from 21h35 to 21h55. The Haters
were in front of a blue-sceen during the whole
performance so black static could be keyed in around
them. Entitled "Mind The Gap". (#232)
2/6/1996 San Francisco
A performer used an amplified staple-gun to break and
shatter a stack of 141 LP records. Two other
performers were processing the resulting sounds.
Because the two doing the processing were autonomous
from each other, there was a layering of feedback and
erratic poundings. By the end of the 20 minute
performance, both the stage and the club floor were
covered in both staples and vinyl fragments. Applause
followed. Entitled "Mind The Gap". (#233)
5/9/1996 Linz
Jupitter-Larsen stapled 151 antique computer floppy-
discs to a motorcycle tire that a young girl was
wearing over her shoulder. His staple-gun was mounted
with two contact-mics. For 25 minutes the resulting
sounds were transmitted live over the Internet via
realAudio. It was staged from the ORF studios. The
audience applauded. Entitled "Mind The Gap". (#234)
29/10/1996 San Francisco
For 20 minutes a funnel was held over the turntable of
a toy record-player by being attached to a large
wooden pallet that two performers were holding up. The
nozzle of the funnel was allowed to drag and erode on
the spinning turntable which was covered with
sandpaper. Erosion as penetration of the void. Erosion
being the only way a solid object can truly penetrate
the void. The funnel itself was amplified, and the
resulting sounds were processed by two other
performers. The club audience applauded. Entitled
"Drunk On Decay". (#235)
30/11/1996 Los Angeles
For 15 minutes a funnel was held over a turntable-like
device by being attached to a ladder that two
performers were holding up. The nozzle of the funnel
was allowed to drag and erode on the spinning
turntable which was covered with sandpaper. Both the
funnel itself and the turntable were amplified. The
theatre audience cheered and applauded. Entitled
"Drunk On Decay". (#236)
The turntable-like device used for this performance
was designed & built by Damion Romero and Jupitter-
Larsen. Made from junk and old parts, the Drunk-On-
Decay-Deluxe would be used for all future occurrences
of "Drunk On Decay".
26/2/1997 Oakland
A funnel, attached to a stool that Jupitter-Larsen was
holding up, was allowed to drag and erode on the
Drunk-On-Decay-Deluxe. For 15 minutes, both the funnel
and the turntable were amplified. Entitled "Drunk On
Decay". (#237)
Held at the main auditorium at the California College
of Arts and Crafts, a screening of "Holes On The Neck"
followed.
30/3/1997 Austin
A funnel, attached to a wheelchair that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 15 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#238)
10/5/1997 Monterey
A girl dressed in a long black dress was wearing an
auto tire over her shoulder like a sash. Using an
electric drill mounted with a granding wheel,
Jupitter-Larsen was wearing away at this tire for 20
minutes. The smell of rubber poured out of the hole
that was added. The drill was amplified. Applause
followed. Entitled "Changing The Tire". (#239)
6/6/1997 San Francisco
A funnel, attached to a large wheeled garbage
container that three performers were holding up, was
allowed to drag and erode on the Drunk-On-Decay-
Deluxe. For 17 minutes, both the funnel and the
turntable were amplified. Entitled "Drunk On Decay".
(#240)
2/8/1997 Lowell
A funnel, attached to a shovel that Jupitter-Larsen
was holding, was allowed to drag and erode on the
Drunk-On-Decay-Deluxe. For 15 minutes, both the funnel
and the turntable were amplified. Entitled "Drunk On
Decay". (#241)
3/8/1997 Boston
A funnel, attached to a vacuum cleaner that Jupitter-
Larsen was holding, was allowed to drag and erode on
the Drunk-On-Decay-Deluxe. For 20 minutes, both the
funnel and the turntable were amplified. Entitled
"Drunk On Decay". (#242)
4/8/1997 Providence
A funnel, attached to a wheel chair that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 10 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#243)
5/8/1997 New York
A funnel, attached to a young girl that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 15 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#244)
6/8/1997 Philadelphia
A funnel, attached to a large wooden desk that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 15 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#245)
7/8/1997 Richmond Va
A funnel, attached to an abstract sculpture that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 15 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#246)
8/8/1997 Fredrick Md
A funnel, attached to an antique pant rack that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 10 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#247)
9/8/1997 Chapel Hill N.C.
A funnel, attached to a very long ladder that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 15 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#248)
10/8/1997 Lancaster
A funnel, attached to a wheelbarrow that three
performers were holding up, was allowed to drag and
erode on the Drunk-On-Decay-Deluxe. For 15 minutes,
both the funnel and the turntable were amplified.
Entitled "Drunk On Decay". (#249)
11/8/1997 Pittsburgh
A funnel, attached to a bicycle that three performers
were holding up, was allowed to drag and erode on the
Drunk-On-Decay-Deluxe. For 15 minutes, both the funnel
and the turntable were amplified. Entitled "Drunk On
Decay". (#250)
12/8/1997 Cleveland
A funnel, attached to a motorcycle that three
performers were balancing on a large wooden box, was
allowed to drag and erode on the Drunk-On-Decay-
Deluxe. For 15 minutes, both the funnel and the
turntable were amplified. Entitled "Drunk On Decay".
(#251)
13/8/1997 Detroit
A funnel, attached to a dolly that three performers
were holding up, was allowed to drag and erode on the
Drunk-On-Decay-Deluxe. For 35 minutes, both the funnel
and the turntable were amplified. Entitled "Drunk On
Decay". (#252)
14/8/1997 Chicago
A funnel, attached to a ladder that three performers
were holding up, was allowed to drag and erode on the
Drunk-On-Decay-Deluxe. For 30 minutes, both the funnel
and the turntable were amplified. Entitled "Drunk On
Decay". (#253)
20/9/1997 San Francisco
A funnel, attached to a very large abstract sculpture
that three performers were holding up, was allowed to
drag and erode on the Drunk-On-Decay-Deluxe. For 20
minutes, both the funnel and the turntable were
amplified. Entitled "Drunk On Decay". (#254)
5/12/1997 Vienna
GX Jupitter-Larsen gave a lecture on the history of
Noise. Entitled "Noise, And The Noisician"; the
lecture opened with the statements: '...In much the
same way the early modernists were inspired by
primitive art, most contemporary noisicians are
excited by the archaic technologies of wire-recorders,
the 8-track cartridge, and vinyl records. When given
the choice of having their work released as either a
vinyl record or digital CD, most still choose vinyl.
Most noisicians would rather develop their own
personal technology then conform to the commercial
mass-media norm. Many not only build their own noise-
generating devices, but even their own specialized
recording equipment. Rejected sounds together with
rejected technology married in attitude. Without
having anything in common, noisicians all record,
document and achieve the very sounds nobody else wants
to hear... With very little else in common, the issue
of fetish, obsession, or mania is the one thing that
all contemporary noisicians seem to share. After a
century of audio experimentations by art movements,
academia, and the fringes of pop culture, the current
Noise scene has taken avant-guard sound and given it
unprecedented passion...' (#255)
This was immediately followed by a variation of "Drunk
On Decay". A funnel, attached to a young girl was
allowed to drag and erode on the Drunk-On-Decay-
Deluxe. For 10 minutes, both the funnel and the
turntable were amplified. (#256)
29/1/1998 San Francisco
A funnel, attached to an elevated truck on a repair-
shop hoist, was allowed to drag and erode on the
Drunk-On-Decay-Deluxe. For 20 minutes, both the funnel
and the turntable were amplified. Entitled "Drunk On
Decay". (#257)
18/4/1998 San Francisco
Two performers each had an electric drill mounted with
a grinding wheel. They both pushed the spinning
grinders into a live microphone being held up by a
third performer. The mic was slowly worn down to a
stub. Applause followed from the cheering audience.
Entitled "The Grinding Gig", this performance lasted
30 minutes. (#258)
That same night the proprietor installed a copy of the
"Breakthrough" single in the club's jukebox.
18/5/1998 Miami
Entitled "Counting The Sand". (#259)
22/5/1998 Key West
A variation of "Counting The Sand" staged at an
abandoned Miniature-Golf course. (#260)
24/5/1998 Miami
Another variation of "Counting The Sand". (#261)
6/6/1998 Los Angeles
Sitting at a table, Jupitter-Larsen rubbed a
calculator against sandpaper nonstop for 24 minutes.
Two contact-mics were mounted on the calculator.
Applause followed. Staged at ACE Contemporary, this
performance was entitled "The Thinking Ross Did".
(#262)
25/7/1998 San Francisco
As a variation on clici-clicing, for 26 minutes, a
member of The Haters and a Haitress stood side by side
using amplified hand-held hole-punches to pop hundreds
upon hundreds of little holes through numerous sheets
of paper. Distortion and feedback filled the space.
The performance was followed by overwhelming applause.
Entitled "Building Empty Holes". (#263)
Although not intentional, much of the 50 member
audience became absorbed by the comparison of the
seemingly masculine and feminine characteristics of
the two performers. The member of The Haters being
very systemic and methodical, while the Haitress was
more indiscriminate and animated in her technique.
Till this point all of the clici-clic performances
achieved loud yet playful sounds. This performance
however was the first to produce a clici-clicing that
was severely harsh and abrasive. All subsequent clici-
clic presentations would follow this agenda.
19/9/1998 Oakland
Two performers turned a random pile of wood into
sawdust by drilling lots of little holes with
amplified electric drills. What wasn't blanketed in
sawdust, was enveloped in noise. Applause & cheers
followed. Entitled "Building Empty Holes". (#264)
8/10/1998 Ken Gerberick's hometown
A variation on clici-clicing was performed by two
members of The Haters in an out-of-the-way club off
the outskirts of Missouri. Earsplitting noise in
between thunderous crashing-like distortion
overwhelmed the elated audience. Entitled "Building
Empty Holes". (#265)
4/12/1998 San Francisco
For 26 minutes, a member of The Haters and a Haitress
stood side by side using amplified hand-held hole-
punches to pop hundreds upon hundreds of little holes
through numerous sheets of paper. A sonic rippling of
pops and feedback rang throughout the gallery. A
pregnant woman in the audience had to leave to watch
the show from outside because of the enthusiastic
kicking of her unborn baby. Her baby had been
perfectly still before all the noise, and settled down
again the instant it was over. Entitled "Building
Empty Holes". (#266)
12/2/1999 San Francisco
Conceived by Jupitter-Larsen, with electronics by
Damion Romero, and leather-work by Paul Stoll, this
was the premiere of the Untitled Title Belt (U.T.B.).
Unlike the traditional championship wrestling belt it
was fashioned after, this implement functions as a
combination microphone, distortion-pedal, & noise
generator.
As Jupitter-Larsen stood centre stage, operating the
U.T.B., two Haitresses stood to either side of him to
tie a young woman to his back. Then, for 15 minutes,
they proceeded to slowly cut off her garments using
amplified scissors. The girl squirmed around so much,
it made operating the U.T.B. both awkward and
exhausting. As the girl was behind him, the audience
was unable to get a clear view of the source of
Jupitter-Larsen's difficulty. All sounds were being
progressed through the belt. The belt itself was
providing a very low pulverizing base, while the
scissors supplied the mid and high frequencies.
Entitled "Untitled Title Shot". (#267)
29/5/1999 San Francisco
About 100 people ambled around the venue's exhibit of
performance relics and documentation that covered 20
years of activity. Leading up to the performance were
two hours of video highlights screened on monitors
placed around the space. During this screening the
subsequent performances were represented in the
following order:
10/8/1991 Cleveland (#127)
14/8/1991 Charleston (#130)
16/8/1991 Philadelphia (#131)
28/12/1991 New York (#155)
27/3/1992 San Francisco (#164)
1/12/1993 San Francisco (#192)
18/6/1994 Lost Skulls Mine (#198)
25/6/1994 Los Angeles (#200)
11/6/1988 San Francisco (#71)
28/10/1988 Denver (#72)
30/10/1988 Denver (#73)
15/12/1990 San Francisco (#111)
24/11/1988 Denver (#75)
15/4/1991 San Francisco (#118)
18/5/1991 San Francisco (#119)
30/5/1996 San Francisco (#232)
22/4/1995 Sacramento (#209)
30/10/1992 Paris (#174)
27/6/1995 San Francisco (#215)
4/12/1998 San Francisco (#266)
27/6/1995 San Francisco (#215)
12/2/1999 San Francisco (#267)
The performance consisted of a member of The Haters
and a Haitress sitting opposite each other at a small
table, each rubbing an amplified calculator against
some very abrasive sandpaper. The male performer's
calculator was EQ'ed towards the low end, while the
female's was EQ'ed towards the high end. The signals
from the calculators were also being processed through
the U.T.B. The noise was both gratting and engrossing.
Projected on the wall behind the performers was a live
video feed of the performance itself. Lasting 21
minutes, and entitled "Untitled Title Shot". (#268)
25/6/1999 San Jose
Two members of The Haters stood on opposite sides of a
podium, each rubbing an amplified calculator against
some very abrasive sandpaper. The low-end signals from
the calculators were combined with a high-end signal
from the U.T.B. The result being a very full-spectrum
sound that left many in the gallery audience giddy.
Lasting 18 minutes, and entitled "Untitled Title
Shot". (#269)
After the applause a young anonymous heckler emerged
from the audience wearing a hand-drawn t-shrit
depicting, among other things, a caricature of
Jupitter-Larsen. He proceed to march up and down,
yelling into a funnel all the reasons he hated The
Haters. After a few minutes he just walked out of the
gallery without any further clarification to the
matter.
28/8/1999 San Jose
Two members of The Haters stood over the U.T.B. which
was lying on the stage floor, generating a low hum on
it's own. The two performers were using amplified
electric drills to make sawdust out of a highway
detour sign. For about 5 minutes, that is, till the
fuses blew. Silence followed. Entitled "Untitled Title
Shot". (#270)
30/10/1999 The Boston area & Holland
Building empty holes to erect a noisy mess, two
members of The Haters were performing at one city,
while two others were performing at another. This was
the first time The Haters performed in two different
places at once. Simultaneously at both the Boston &
Dutch stagings of this intercontinental performance,
The Haters used amplified electric drills to make
sawdust out of wood. In the Boston segment the U.T.B.
was used as an extra sound source, while in the Dutch
half a third and forth member progressed the live
sounds of the drilling. About 50 people were in
attendance at both stagings. Outside before the Dutch
event commenced, some computers were cast into four
cement-mixers. The computers crushed themselves to
pieces rolling about in the rotating barrels which
acted as loud-speakers for the breaking. Entitled
"Untitled Title Shot". (#271)
7/11/1999 Tokyo
About 85 people were in attendance. For 15 minutes, a
member of The Haters and a Haitress stood side by side
clici-clicing. The U.T.B. was used as an extra sound
source. The performance was followed by staggering
applause. Many in the audience rushed the stage to
snatch up the bits of paper left after all the hole-
punching. Entitled "Untitled Title Shot". (#272)
12/11/1999 Tokyo
For 25 minutes, a member of The Haters and a Haitress
stood side by side clici-clicing. The U.T.B. was used
as an extra sound source. During the entire
performance everyone in the 150 member audience was
yelling and screaming as the mostly low-frequency
bursts from the amplified hole-punches thumped and
cracked both ear-drums and guts alike. After the
finale the two performers left the stage to steady
cheers of "Haters! Haters! Haters!..." A lone
performer came back out to grind the clici-clics
against the stage floor for 3 minutes. The resulting
sound was a deafening wall of sharp intense
vibrations. It was the first time a Japanese Noise
audience had ever demanded an encore from anyone.
Entitled "Untitled Title Shot". (#273)
14/11/1999 Tokyo
The U.T.B. was installed in a record shop and left to
feedback on itself for 20 minutes. The small shop
filled with a noise that seemed to oscillate to every
nearby train passing by. Entitled "Untitled Title
Shot". (#274)
17/11/1999 Nagoya
For 20 minutes, two members of The Haters clici-
cliced. The signals from the hole-punches were being
processed through the U.T.B. Everything got covered in
chad. Entitled "Untitled Title Shot". (#275)
18/11/1999 Kyoto
For 15 minutes, two members of The Haters clici-
cliced. The U.T.B. was used as an extra sound source.
The grating pops throughout the very low-pitched
static were intensely jolting to everyone. Chad was
everywhere. Entitled "Untitled Title Shot". (#276)
20/11/1999 Osaka
For 31 minutes, Jupitter-Larsen clici-cliced a sheet
of paper into nothing, then rubbed a couple of hole-
punches against a piece of sandpaper. The
reverberation from the two hole-punches clanging and
clanking against each other produced a ringing whistle
amid the dull sandpaper/U.T.B. swishing that splished
the space over and over again and again. He finished
by clici-clicing up a second sheet of paper. The
performance was followed by staggering applause from
the 65 member audience. Entitled "Untitled Title
Shot". (#277)
21/11/1999 Matsuyama
For 15 minutes, Jupitter-Larsen clici-cliced a sheet
of paper into nothing, then rippled his hole-punch
against the wire-meshed fence behind him. The
resulting thorny throbbing barbed tough. He finished
by clici-clicing up a second sheet of paper. The
U.T.B. added to the feedback. Entitled "Untitled Title
Shot". (#278)