Genesis P-Orridge
Genesis P-Orridge: A Life of Artistic Rebellion
#### Full Name and Common Aliases
Born Neil Andrew Megson on February 22, 1950, in Catford, London, England, Genesis P-Orridge is one of the most influential figures in avant-garde art. He adopted his moniker "Genesis" from a poem by Charles Olson, while "P-Orridge" was inspired by an early girlfriend.
#### Birth and Death Dates
February 22, 1950 – March 14, 2020
#### Nationality and Profession(s)
British musician, artist, poet, writer, and occultist. P-Orridge's work defied categorization, embracing the intersection of music, art, and mysticism.
#### Early Life and Background
Growing up in a working-class family, P-Orridge was exposed to various forms of alternative culture from an early age. His parents' eclectic taste introduced him to jazz, classical music, and literature, which would later shape his artistic endeavors. P-Orridge's introduction to punk rock in the late 1970s marked a pivotal moment in his development as an artist.
#### Major Accomplishments
As the co-founder of Throbbing Gristle, a pioneering industrial music group, P-Orridge helped redefine the sonic landscape of the 1970s. His work with Chris & Cosey and Psychic TV further expanded his creative scope, exploring themes of mysticism and counterculture.
#### Notable Works or Actions
P-Orridge's artistic output is vast and diverse, encompassing music albums like _The Second Annual Report_ (1977) and _Heaven 2/3 – At the Heart of the Sun_ (1981), as well as collaborations with artists such as William S. Burroughs and Brion Gysin.
In addition to his musical endeavors, P-Orridge was an avid writer and poet. His works often explored themes of identity, spirituality, and social critique. He also co-authored _The Nailed Hand_ (1981) with his partner, Lady Jaye.
P-Orridge's most ambitious project, however, was the "Corporate War on Reality" – a sprawling multimedia installation that critiqued modern capitalism and the erosion of individual identity.
#### Impact and Legacy
As an artist, P-Orridge has inspired countless individuals across multiple disciplines. His work with Throbbing Gristle paved the way for industrial music's entry into mainstream consciousness, while his advocacy for experimental art practices continues to influence contemporary culture.
Beyond his artistic contributions, P-Orridge's unwavering commitment to his craft serves as a testament to the power of creative expression in challenging societal norms. His legacy extends far beyond the realm of music and art, speaking to the fundamental human need for self-expression and rebellion against conformity.
#### Why They Are Widely Quoted or Remembered
Genesis P-Orridge's influence can be seen in the work of artists such as Nine Inch Nails' Trent Reznor, who has cited Throbbing Gristle as a primary inspiration. Musicians like Marilyn Manson and Ministry have also acknowledged P-Orridge's significant impact on their own creative paths.
Beyond music, P-Orridge's philosophy of artistic experimentation and his unapologetic rejection of mainstream conventions make him an enduring figure in contemporary art and counterculture. His unwavering commitment to pushing boundaries has earned him a lasting place in the pantheon of visionary artists who have shaped our understanding of creativity and its role in challenging societal norms.
Quotes by Genesis P-Orridge
That's really the whole point of art - it's to take something commonplace and draw people on a path so that, all of a sudden, they have a new impression of everything around them.
We don't agree with Caitlyn Jenner deciding she is the spokesperson for trans people.
Lady Jaye dressed me in her clothes the first day we met. The love we had was so strong, we wished we could become one. Then we thought, 'Why shouldn't we?'
My father enlisted at the age of 17. He lied about his age because he wanted to ride the fastest motorbikes, which were with the British army.
The great irony was that the punks were more conservative and narrow-minded and musically bigoted that anyone else.
I think one of the gorgeous things about TG is that we will go from something amazingly serious and important and significant in terms of the world and life, and then do something ludicrous and absurd.
The status quo is presented as something to aspire to, whereas for us, the status quo was something we wanted to shatter in order to create the space for people to choose for themselves.
We were already, in 1981, bemoaning the fact that people were using certain accessorised ideas and images that they connected with us - sort of strange buildings and neo-fascist regimes and the 'dark side' of human culture.
I think, with TG, in our own ways, we have been committed to the idea of evolution on some level and change on some level - that human behaviour may not be changeable, but one has to try and be optimistic and work towards content that might signify change.