On The Road To Super Bowl Sunday

When you meet The Buddha in Malibu. . .

First off, props to Shawn Carson for bringin’ the yang over the past couple of days. Love your comments and insight Shawn. Keep it comin’.

I’m in LA getting ready to head out to Vegas in an hour or so, to partake in the great American ritual of excess known as “Super Bowl Sunday.”

I started the journey off in the late but capable hands of Jane “Boobs McGee” Piper, who piloted her topless Miata to the edge of Santa Monica where we hung out with Richard Horowitz and Sussan Deyhim, two of my favorite people on the planet. When it comes to football, Richard doesn’t know pass interference from offsides, but it didn’t deter Oliver Stone from choosing him to score “On Any Given Sunday” which happened to be my pal Jane’s favorite sports movie of all time. He recounted the story of when he met Stone for the first time to discuss the gig and Oliver had just gottten popped for smoking hash oil in his car, down in the valley. Wihout much fanfare, Stone handed the duties over to Richard.

I have previously written about the two of them here in my interview with them back in 1998. But the readers digest version for those that are not aware of them is that they have one of the most respected and honored careers in the world music community. Sussan studied with The Beijart Acadamy as a teen, learning dance and music from some of the finest practitioners in the world at the height of Persian cultural renaissance during the reign of The Shah, when he spent millions of oil dollars on music and art festivals, like the legendary Persepolis festivals of the seventies. She’s since gone onto international acclaim as one of the finest vocalists on the planet.

Richard has an exquisite feel for the music of Turkey, Morroco, India and Iran and deftly employs those sounds and others in films he scores. Hanging out with them usually becomes a six-degrees of synchronicity parlor game as people from our collective past surface and wrap around our increasingly intertwining stories.

We spent the afternoon having lunch at Moonshadow in Malibu, where a foursome of frisky Persian women sprawled out on one of the beds they have on the deck, overlooking the deeply blue Pacific, were drinking wine and playing footsie with increasing affection as the afternoon wore on.

I promise to get back to The Super Bowl when I hit Vegas this afternoon and look at Big Ben Roethlisberger’s chart.

Revisiting Morocco, Magic, Majoun, Horowitz and Deyhim

MajounMercury is retrograde in Gemini and it’s time for me to re-invigorate my blog. I did this interview ten-years-ago and recently re-connected with Richard Horowitz after staying up far-too-late one night last week watching Bertolucci’s cinematic rendering of The Sheltering Sky where Horowitz provided the exotic soundtrack.This Q&A was to appear in the last, which turned out to be the “lost” issue of MONDO 2000. For those of you who don’t know, MONDO was one of the greatest and most influential magazines of all time. It was redolent with early adopter themes, bursting at the spine with memes and strange attraction. I was part of the waning phase of MONDO’s glorious ascent. Not privy to all of the media buzz that surrounded the mag in the middle of the nineties, I nonetheless experienced the madness and genius of Queen Mu on a daily basis. I could go into a whole post simply on the complexity and brilliance of the MONDO maven. I will go on record and say that she is one of the great unknown and little recognized writers and minds of the 20th century. With Pluto moving into Capricorn, The Queen’s natal sign (she shares the same birth date as Elvis and Bowie), I think we will witness her rise once more.I spent two separate phone interviews with Richard and Sussan and one interview with Sussan alone and really got to know them. I appreciated truly their candor and vulnerability.The art was pure Heide Foley in all of it’s psychedelically inspired retinal overload. I actually found this on Heide’s website where much of the lost issue resides. Curiously, she has me named as “Rob Hall.” Enjoy.

Majoun—passed down through the ancestral food chain, a mind-kissing cousin of Soma, brain food of the gods.

Majoun—trance possessor of initiates into visions of desert ecstasy and love–the mysteries of muezzin and minaret. Sacred geometries, spinning poets and wheels of tilting stars, revealed by the sweet taste of this Kif-powered Moroccan paste that’s mixed with mint tea.

In it’s aural manifestation, Majoun is three parts Adrian Sherwood’s On U Sound collective ( Keith LeBlanc, Skip McDonald and Doug Wimbish), world rhythmatist Steve Shehan, Gnawa rebel Hassan Hakmoun, virtual reality vulcan Jaron Lanier, a host of some of the finest players from Morocco and the core ingredients—Richard Horowitz and Sussan Deyhim. Horowitz is a master ney player. His musical influences include the likes of Bachir Attar, The Gnawas and other Moroccan mugicians. Psychically, he is linked to the famed boho expatriates Brion Gysin and Paul Bowles. It was Bowles who suggested that Horowitz, along with Ryuchi Sakamoto, co-score the film version of his classic tale, The Sheltering Sky. Deyhim is an expatriate as well. She fled her native Iran before the Shah’ s strings were cut by the puppet masters. Relocating in Europe, she studied voice, dance and theater with the legendary Maurice Beijart. Her other-worldly ululations mixed with her native Farsi echo the passionate yearnings of ancient muses reborn with an avant-garde intelligence crystallized in their cells.

But most of all, Majoun is the elixir of travellers. It is that quality of traveling, a circumnavigational displacement in space and time that unites all of its participants-—nomads in a virtual caravan of dreams–—that Horowitz and Deyhim have assembled. Through a filament of light and sound, from Berkeley to London and New York, they shared their journeys and their secret recipe for Majoun with MONDO.

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