By Dawoud Kringle
An Interview by John Kruth
Brion Gysin was a Renaissance man in a century with a 15-second attention span. In a world where people are known for “doing one thing well,” Brion mastered a variety of disciplines which he employed to express himself at any given moment. Gysin was a painter, author, editor, musical anthropologist, inventor, philosopher, mystic and restaurateur. And to add insult to injury, he wore each of those hats with ease and remarkable panache. Surrealist ringleader André Breton, Beat novelist William S. Burroughs and Rolling Stone Brian Jones all recognized his brilliance, yet Brion’s work for some reason went virtually unnoticed by the public.
As an artist, Gysin painted otherworldly figures that danced around the canvas like cryptic Arabic and Japanese calligraphy. He was embraced and then quickly expelled (for vague reasons) by the Surrealists. In truth, Brion simply wasn’t the type to espouse the party platform, no matter how bizarre the doctrine. (Although he’s been associated with the Beats through his connection to Burroughs, Gysin would never claim to be one of that clubby bunch either.)
Text by Dawoud Kingle
As I write this, I’m listening to Herbert Von Karajan conducting the Berlin Orchestra in a performance of Beethoven’s 7th symphony, allegretto, 2nd movement.
This is what I’m hearing: Beethoven is getting old. Death is no longer an abstract idea; it is becoming real. He accepts it, as we all must. But the pain of his life is weighing on him. He struggles with memories and loneliness. And from time to time, glimpses of joy and moments happiness come to him, suggesting a great reward at the end of his trials. But for now, he must endure his pain. And his passion.
This is Dawoud playing sitar in this video. He was videotaped at the Yippie Museum Cafe in the Lower East Side March 7th, 2010.
He’s based in New York City. Details will be found at www.renegadesufi.com.