My name is Marcus Goodwin. When I was 7 years old, I was struck psychic after meeting in the Las Vegas desert the recluse filmmaker, financial-industrialist Howard Hughes. I nearly choked to death that day on desert dust, and "came to" hours later with the surprising sense of clairvoyance; sort of like
the Dutch psychic Peter Hurkos (caught the Boston Strangler). Hurkos, who fell off his ladder while painting a house, woke up days later in the hospital to realize he was "psychic."
For me, it was the sand.
Since my early teens, I have made a living telling fortunes. After predicting the futures for hoards of people on the New York City streets (and at Webster Hall night club), I graduated to undercover psychic on Wall Street. I wrote a book about the experience called THE PSYCHIC INVESTOR [Adams Media, 2000]. It was great fun being psychic and writing that book pretending to really give a hoot about wanting to climb the corporate ladder. Inevitably, I learned a lot about the markets, helped a bunch of people with their stock picks, and may never forget those madcap days. People really love that book. I still get more fan mail than I can read.
By the way, I think everyone is psychic. You too.
I was angry in the early 90's; angry at rock & roll, angry at politics, and angry at my own psychic-ness. So I formed and fronted the equally aggressive and angry punk band with the apt name BARNEY RUBBLE AND THE CUNT STUBBLE. The name itself became a problem for the band; after an aggressive legal battle with Hanna Barbara & Co. (the creators of the Flintstones), the band was forced to streamline their name to "THE STUBBLES."
Most prolific artists yearn to flood the market with new titles, but the music industry's promotional machinery and conventional wisdom dictates a certain amount of restraint, for reasons ranging from audience burnout to quality control to simple confusion. Marcus doesn't have much use, he says, for the music industry, conventional wisdom, or quality control. The result is a wildly uneven pile of releases, and artistic hairpin turns that will remind you why you listen to music in the first place. Marcus is never afraid to follow his creative foresight in unexpected directions, or in many unexpected directions all at once.
Most of his later recordings are produced and played with no outside help.
Marcus plans to write and record songs for the rest of his life.
