JENNY EVERYWHERE

HAPPY JENNY EVERYWHERE DAY!
(Annually on August 13th)
https://www.jennyeverywhereday.com/

“The character of Jenny Everywhere is available for use by anyone, with only one condition. This paragraph must be included in any publication involving Jenny Everywhere, in order that others may use this property as they wish. All rights reversed.”
—The license for Jenny Everywhere

I also created a copyleft logo for JE that is available in PNG, EPS, PSD and AI file formats :))) CLICK HERE TO DOWNLOAD ZIP FILE

JENNY EVERYWHERE CHARACTER RESOURCES:
Jenny Everywhere (TV TROPES)
Jenny Everywhere (WIKIPEDIA)
Jenny Everywhere (PDSH)
The Shifter Archive Project

Signals from the Stars

On March 4, 1971, Terence and Dennis McKenna conducted their experiment at La Chorrera, in which they experienced contact with an apparent extraterrestrial higher-dimensional logos, by ingesting a psychotropic concoction as part of an idiosyncratic ritual, a harbinger of ever escalating high weirdness.

Between July and August of 1973, Timothy Leary conducted a group telepathy experiment while incarcerated at Folsom Prison, resulting in supposed contact with an extraterrestrial intelligence from the future, delivering a message which Leary then transmitted under the name “StarSeed”.

On July 23, 1973, Robert Anton Wilson began experiencing contact with a higher intelligence from the Sirius star system which continued until around October 1974.

In 1974, John Lilly came to believe in a network of cosmic entities, and that he had achieved contact with the local representatives: E.C.C.O. (Earth Coincidence Control Office)

On February 20, 1974, Philip K. Dick experienced a transference of cosmic information from a Vast Active Living Intelligence System (VALIS), which continued throughout February and March of ’74.

And that’s just off the top of my head!
WTF was going on in the early 70’s??

To hazard a guess, these were all exceptionally bright people enveloped in a countercultural zeitgeist of sci-fi psychedelia, living in a world where Woodstock just landed on the moon, and Spaceship Earth was undeniably on the verge of something HUGE. So when their imaginations became exposed to extreme circumstances, by hook or crook, they envisioned new kinds of gods, networked cosmic intelligences. (Basically anticipating the internet?)

Worth noting that these experiences all went on to inspire very influential books and systems of thought. To whatever extent these were actually pathological breaks from reality, they have functioned in our culture as successful visionary revelations.

Though in this there is most certainly a survivor’s bias at play. For every Robert Anton Wilson, who carefully navigated the destabilizing consequences of psychotomimetic experiences, and extracted useful and entertaining life lessons along the way, how many less fortunate souls maybe got less admirable results?

COSMIC TRIGGER WARNING: Self Harm

On March 26, 1997, the bodies of 39 members of the Heaven’s Gate cult were discovered in a house just outside of San Diego, having participated in a ritual mass suicide, orchestrated as part of an extraterrestrial/metaphysical belief system, in which they hoped to board a spaceship trailing the Comet Hale–Bopp.

Okay, so that may feel a bit out of left field, let’s step back a sec…

In March of 1972, Marshall Applewhite & Bonnie Nettles met and pursued a spiritual quest that eventually resulted in apparent contact with an extraterrestrial divine intelligence that bestowed upon them a mission to fulfill biblical prophesy by dying, being resurrected, and ascending bodily to a literal, physical heaven, on an actual spacecraft.

In 1974, the “cult of cults”, what would eventually become known as Heaven’s Gate, was formed.

This timeline places “The UFO Two” firmly in the High Weirdness cluster of the early 70’s.

So I guess pretty obviously I recently watched the Heaven’s Gate documentary on HBO, and before even catching on about the funky 70’s stuff, noticed a weirdly familiar vibe in the archival footage, which felt like a southern preacher’s imitation of Timothy Leary’s guru schtick.

Or even one of those especially weird, self-transforming-machine-elf workshop events Terence McKenna would put on, except at the end of the UFO cult show these cats took off with half of the audience to go live in the woods!

The Two apparently ran an alternative spiritual bookshop in the early 70’s, so maybe were familiar with some of the psychedelic literature of the time. Their visionary experience is hypothesized as resulting from an LSD trip, so there may be more than coincidence at play here.

They referred to “beliefs” as “programming” which seems like it could have been taken directly from John Lilly’s work. They also seemed to have a general sense of the concept of reality tunnels, or more specifically that people viewed the world according to their programming. Which I suppose shouldn’t be much of a surprise, since cults depend on deconstructing existing belief systems. So if they say your concept of self and reality is illusory, it has the ring of truth, but then can use that as a wedge to instill far grander delusions.

Sort of like if you watch a Charles Manson interview, and half the time he’s doing a folksy Alan Watts routine, which attempts to disarm you for the more direct sociopathic manipulation.

In “Everything is Under Control” RAW reports that Applewhite and Nettles, then going by the names “Bo” and “Peep” walked out of a lecture he was giving in Houston in 1978. At the time they were identified as “leaders of a typical UFO contact cult.”

Terence McKenna also reported early familiarity with The Two:
“I couldn’t believe the way in which the media portrayed the Heaven’s Gate people as very careful thinkers, very reasonable people — I mean, I heard about this thing in 1975. Somebody said, ‘Hey, there are these two people who are running around who say that they’re off a spacecraft. You wanna go see?’ [extremely irked voice] ‘NO!'”

There’s home video footage of members in the 90’s driving home after holding a public meeting, wherein their message got pretty decisively rejected by those in attendance, and they are clowning on a particularly critical dude deemed too dumb to receive their truth, they mock him as a “bonehead,” much to their own delight.

Generally speaking, it is pretty difficult to see the irrationality of our own unexamined assumptions, by proxy, I glimpsed the bars of a Black Iron Prison.

I suspect the sheer magnitude of the infamy generated by the media circus that surrounded the discovery of the mass suicide presented itself as a fulfillment of prophesy to many of the ex-members who were left behind. Several of whom took their own lives in belated attempts to join in on the space rapture.

Perhaps the most haunting aspect of the documentary is the running commentary from a left behind lapsed member who remains convinced he fucked up and missed out on spiritual ascension.

On April 22, 1997, one month after the Heaven’s Gate mass suicide, Timothy Leary’s ashes were launched into space on a Pegasus rocket.

“We are sending a comet to your solar system as a sign that the time has come to look to the stars.”

An excerpt from Timothy Leary’s StarSeed Transmission, which in hindsight, makes the 1997 appearance of Hale–Bopp Comet a very strange dot to connect amongst the stars, but the better view might be a bit more Earthbound.

As someone who spends quite a bit of time in mental and digital ideaspaces, I can sometimes accidentally fall into the error of treating my body like a vehicle that carries my mind around. Not as a conscious ideology, like the Heaven’s Gate cult, but just as a consequence of having an introverted personality w/ an interest in computers and art, esp during quarantine. (This was written in the Summer of 2021.)

What’s the opposite of alienation? Reconciliation?

So my take away from all this is a reminder to return to my body more often, and maybe not just pour coffee into myself in front of a screen until somehow productivity starts to happen!

RAW’s take away was basically that they would have remained harmless weirdos, except the fallout from the Waco massacre pushed them over the edge, which the doc also touches on.

The documentary takes a sympathetic view, depicting the members as basically regular people who were just kind of unlucky.

Terence McKenna, as noted earlier, was much more sick of this type of shit, having been around the paranormal block maybe a few too many times, and thought we shouldn’t be shy about calling out harmful nonsense, with the caveat being we should also notice how much of our culture is comprised of equally absurd notions.

(Also, I kind of like how TM refuses to break kayfabe and acknowledge that his whole thing is having the wildest nonsense around!)
 
The balkanization of epistemology continues unabated, and ultimately these are just fragments of an unknowable big picture, so it goes!

JRJR vs. MR. T

A Skeleton Key to THE DRAGON’S GIFT

While I was waiting in a super long line to get a sketch from John Romita Jr. a nice old man struck up a convo with me about comics. He asked me about my favorite characters and stories, which at the time were Spider-Man all the way. So we talked extensively about all things web-headed while the line slowly moved forward. Eventually he would shake my hand and wish me well, then he walked behind the table and sat down to start a signing session. Wait, what? Lo and behold that whole time I was talking to Jazzy Johnny himself! John Romita Sr., what a nice guy :)))

So now it’s time to get my sketch from JRJR and I requested a drawing of Wolverine, which he sketched out first in rapid pencil lines, creating a faint image of Wolverine chomping on a cigar.

As he’s drawing he keeps yelling things across the aisle.

He then switches over to a marker to ink his Wolverine sketch while his yelling across the aisle becomes more frequent and much louder. Then I notice an absolutely unmistakable voice is screaming back! It turns out I’m stuck in the middle of a shouting match between JRJR & Mr. T!

I can’t really tell if they’re joking or not! JRJR is cracking up the whole time, so probably? Maybe? IDK!

JRJR is yelling to Mr. T that actually he is the one who is a fool, contrary to popular belief, and that JRJR, in fact, pities Mr. T.
A dubious claim to be sure!

I walked away with my super awesome Wolverine sketch and not sure what to make of anything anymore :)))

Additional contextual support for THE DRAGON’S GIFT

1.) IMAGE SUCKS

My neighbor was a super big time comic book collector. One of those guys that would buy 3-5 copies of EVERYTHING that came out on a weekly basis, and boasted a comic collection of hundreds of thousands of issues, with complete collections of numerous big name titles. He also had a subscription to the Comic Buyers Guide, which in those days was printed like a newspaper and delivered bi-weekly through the mail. After he was finished with it he’d pass it along to me, and I loved it!

To a 12 year old it felt like I was getting a real look behind the curtain at the workings of the industry. Probably mostly it was advertisements and public relations, mixed in with some genuine heartfelt fandom. In any case, I loved it, esp Peter David’s “But I digress…” column.

CBG was, generally speaking, not particularly crazy about Image Comics.

Back in those days the creation of Image was defined in much different terms than it is today. These days the creation of Image is rightfully celebrated as a revolutionary victory for creators’ rights. But that wasn’t the discussion I was hearing back then, so far as I knew, Image was about writers vs. artists & style vs. substance.

The Image stance, from what I understood, was that the art was more important than the story, which I very much disagreed with! And my experience of those early Image books was, sure it looks cool, but the stories are so dumb.

At Comicfest ’93 Peter David & Todd McFarlane participated in “The Great Debate” which I didn’t attend, but assumed was in regards to this disharmony between writers and artists.

Though actually the debate was about whether Image had been treated fairly by the media.

The fact that I had no clue at the time that Image had anything to do with creators’ rights suggests maybe they were not treated fairly after all.

Maybe I was being fed bad info from a comics media with a vested interest in maintaining corporate hegemony?

Or maybe I was a kid who misread the situation?

Or maybe there actually was a genuine antagonism between some artists and some writers in the industry, which the creation of Image exacerbated?

Most likely a heady mixture of all of the above and then some!

So basically, when I said “Image sucks” I thought I was saying that I valued substance over style, but it turns out not to have been so simple :)))

2.) MY HAT

In the comic I am sporting an Atlanta Braves baseball cap, which by itself is pretty unremarkable, but at the con itself caused quite a commotion, because this event happened to coincide with the Philadelphia Phillies playing against the Atlanta Braves in the 1993 NLCS.

I came by my Braves fandom somewhat honestly, with a step brother from Georgia, and my Dad’s cable service only coming with 10 channels, 1 of them being TBS. The Braves were on TV every goddamn day and I was lured in by their winning ways. Also, at school, it was considered pretty dorky to root for the home team, and it was much preferred to have your own team.

Wearing a Braves cap at that time & place was considered treason, probably especially with the ’93 Phils being so super cool & beloved that their legend has only grown in the decades that have followed.

The Phillies would go on to beat the Braves 4 games to 2 and advance to the World Series. So the last laugh was def on me!

3.) The Comics

The original Savage Dragon mini-series, at that point in time, was pretty damn expensive. All 3 issues were def wall books at Comicmania, my local comic book shop.  All told Larsen’s gift probably cost him at least $25, which seemed like a fortune to a 12 year old in 1993.

Also, now that I think about it, this experience almost certainly led directly to this one.

PSYCHONAUT COMIX #2

Take another candy-colored head trip through koan-fusing adaptations of psychedelic memes, both ancient & modern, in this magically curated comix collection!

Come explore the outer reaches of inner space! #FINDTHEOTHERS :)))

FREE DOWNLOAD

King Mob in Philadelphia

An accounting of GM Magic


I met Grant Morrison briefly at a signing in Philadelphia in 2002.  I was 21, hungover, sleep deprived, and rather well in tune w/ the dune (Stoned). (This being the day after the first Punk Rock Prom on Madison Drive.) I’d brought a small collection of my comix to show them, which I clutched nervously.

Through the fog I was trying to think of ways to communicate quickly and clearly that I was hip to real arcane shit. My skepticism about the explanatory power of a few short words, esp. in matters zen, led me to briefly entertain the harebrained notion that the body language of a hearty *THUMBS UP* might somehow be the ticket.  As the line shuffled forward I decided the more practical approach would be to ask them if they read Robert Anton Wilson.

Along my way to the front of the line my shyness and introversion also changed my mind about showing them my comix.  Which suddenly seemed like a stupid and embarrassing thing to do.

Frank Quietly was at the signing too, parked right next to GM.  I got to him first and gave him a copy of Earth 2 to sign. While exchanging pleasantries w/ FQ I heard someone say, “Did you make these?”

I look over and Grant Morrison is happily flipping through the comix I had decided not to give them!

Mind you, I was in a few altered states at the time, but my genuine experience was/is of having no clue when/how they got those comix.

They were indeed a reader of Robert Anton Wilson, succinct encouragement for my work was offered, they signed my copy of Animal Man #26, and off I went.

Though just as I was stumbling away I heard a booming voice call “Oi!”

I turn around and GM is beaming a huge grin and pointing at the hand lettered title block on one of the comix I gave them:

“SUBURBAN LEGEND COMIX: Sort of like Alan Moore before he stopped selling drugs and read all them books”

Thence they gave me an enthusiastic *THUMBS UP*

A few months later GM opened up a short lived website for their new creator owned work, wherein I had a cringe inducing fan letter published, with the following generous response from Morrison, reproduced here in its original glowing red :)))

YOU AND YOUR KIND ARE THE ONLY THING THAT KEEPS ME SLOSHING FORWARD THROUGH THE SILT OF TIME.

THERE’S ONLY ONE GENERATION. I’M GLAD TO SEE THAT IT NEVER DIES

The Great Escape

A Skeleton Key to CAGLIOSTRO THE GREAT

Drawing Hugh Crane / Cagliostro the Great as both a prisoner and a stage magician was mostly just a straight forward attempt to visually summarize the character as depicted in RAW’s Schrodinger’s Cat Trilogy.

Though as my scribbling progressed I came to notice that this imagery also held personal meaning as a pretty on-the-nose metaphor for how I was feeling with my job as a Graphic Designer & Pre-Press Tech for a direct marketing firm.

It’s a pretty brutal gig in terms of soul crushing drudgery, a pure Rushkoffian nightmare, with constant & unreasonable deadlines, always on call responsibilities, and a pandemic related reduction in staff that saw my department reduced from 4 down to just me.

Though by and large, all of the people at the company, all the way up and down the corporate ladder, are entirely lovely and brilliant people. The people are beautiful, just trapped in the ruthless system of a genuinely tough business.

For the most part the job involves working with really big brands, some of which I’m happy to work with, and others decidedly less so. The credit card companies are the toughest to rationalize, though they’re somewhat balanced out by civil rights groups and some of the better charity organizations.

When rumors began circulating that we might get work from the Trump campaign I panicked and scrapped together an emergency back up plan, just in case they were true. It would have been a reckless and messy exit, but the rationalizations have to end somewhere. The rumors turned out to be untrue, or at least the deal went unsealed.

My back up plan was sincere, but impractical, the beatings continued but morale did not improve…

On particularly bad days I would stay up late applying for jobs somewhere, anywhere else. Though TBH the pure volume of work burned me out pretty good, and with most places still shut down from the pandemic, a feeling of hopeless resignation set in.

When I drew Hugh Crane as a prisoner I was drawing this resignation.

I was trapped, but that didn’t mean I couldn’t still make at least some magic, right?

2 days after I finished my drawing of CAGLIOSTRO THE GREAT – The prisoner, magician, mystic, escape artist, 2 things happened.

We received a project from Trump JR. & I got an email alert that my old teaching position was available.

I used to teach high school computer science in North Philadelphia. The job did not pay well enough to keep me afloat, which is how I ended up where I was.

Before I know what’s what, I’m being offered the same money I’m making at the current gig to return to my teaching position. How can I say no? IDK, bc I didn’t!

Just like that, I give my notice to the once inescapable prison that I’m leaving, and start a new life, closer to the heart.

Cagliostro says 10 people that know what he knows would be very formidable indeed, now I don’t know if I know what he knows, but I’ve just started my second week of teaching 500 7th-12th graders what I know, and that ain’t nothing to sneeze at!

N.B. I don’t think they necessarily mean it as a compliment nor an insult, but there is a strange consensus amongst students, across multiple years, grades and classes, that I remind them of Spider-Man / Peter Parker. They tell me this multiple times a week, not knowing that this is exactly the vibe I’ve been shooting for since I was like 8 years old. My class is a pretty easy A, bc with great power comes great responsibility :)))

PARTS UNKNOWN

A SKELETON KEY TO GOOD OLD EARTH

Around the time this comic takes place my Mom took me to Delaware Park to meet the Ultimate Warrior, we had to wait in line for like 7 hours in sweltering heat, but it was everything to me as a kid.

(If you google the Ultimate Warrior you’re likely to find some unfortunate opinions the actor who played him expressed, none of which were a part of his character, which remains a figure of extreme mystery, hailing from Parts Unknown.)

It’s kinda funny, given the whole darn point of this comic, how much I genuinely struggled to get it done. With no hint of irony, I basically re-lived the experience of becoming hopelessly frustrated with the creative process, to the point that I actually intended to scrap the whole thing numerous times. The only thing that saved it was that since I was working digitally the files remained on my computer and every few months I would stumble across them and revisit the wreckage to see if there was anything I could salvage. This process went on for 3 years. 3 YEARS! All over 4 simple pages.

So as much as I was remembering, and trying to share, this lesson that my mom taught me, I was also having to prove that I’d actually learned it, which wasn’t as easy as I assumed it would be.

THE SOUND OF SILENCE

I like using coincidence as a creative guide, because it feels like it opens up the process to something bigger than just my conscious imagination. For example, I was either going to give my Mom a Black Sabbath or a Simon & Garfunkel t-shirt to wear, (Her 2 fav bands) and just as I was about to commit one way or the other, a Simon & Garfunkel song started playing on a TV show I had on in the background. The TV show was The Leftovers and the song was featured in an emotionally climactic/pivotal moment.

So that pretty much settled that, because all things being otherwise equal between the 2 choices, it’s fun to let synchronicity tip the scales.

Though this set off another line of thinking, because the comic was already called “GOOD OLD EARTH” with “Old Earth” being Wu Tang slang for “Mom”, but now I’m thinking do I go with a Simon & Garfunkel reference for the title? Or maybe something from Black Sabbath, in a have-my-cake-and-eat-it-too kinda way? So I begin to scour song titles and lyrics for appropriate fragments to pull for a new title, and as I’m doing so, while having no luck whatsoever, sure enough in the background The Leftovers features a Wu Tang Clan song in a completely goofy and improbable scene. I stopped my search immediately and let the title stand.

DOVE STA MEMORIA

I long ago stole RAW’s use of “Dove Sta Memoria” as my go to epitaph, as “rest in peace” irks me as being overused to the point of meaninglessness. “Where Memory Lives” seems a more profound sentiment to me. Memory being the tricky, emotional, chaotic thing it is.

My mom had a tough life, especially her last few years, and after she died there weren’t many comforting words passed around about it, except from my older brother. Though my Uncle John, her older brother, managed to get something through the emotional maelstrom. “Remember the good times,” he told me. I was irritated when he said it, because I was a jaded and traumatized 12 year old, and it felt like an easy cookie cutter thing to say. But this story is what I remembered when he said that, and it was something I held on to. It must have been difficult to try to say anything to me at all, at that time, the circumstances being what they were, let alone something helpful, so it turns out he kinda nailed it.

Autobio comics bring in another level of trickery too, because I’ve learned through experience that adapting memories into comix comes with something of a cost. The memory gets partially overwritten by the adaptation. You lose the fuzzy edges and specific inexpressible ambiguities. The memory of the event and the memory of the comic fuse together in a weird amalgam.

I first noticed this in “I was a Teenage Six Million Dollar Party Horse.” An autobio comic about my being saved from a self destructive spiral by a compassionate homeless man. When I was working on the comic I was drawing the man’s face from memory, but now if I try to remember his face I can only see the comic version.

It’s a trade off. You get to have your memory transformed into an objective and shareable medium, but also you lose some of what made it yours.

(I think The Never-ending Story 2 has a bit about this, I remember it scaring me as a kid, though I can’t quite remember the details, which seems appropriate.)

In closing, The Leftovers is a great show, and I highly recommend it :)))