collisionwork: (GCW Seal)
Final post in connection with the three August shows is up at The Brick's blog, B(rick)log.

The post itself is HERE.

Primarily, as mentioned in the previous post here, about influences, and containing several videos from Frank Zappa, Ernie Kovacs, and Negativland, and a mention of Harvey Kurtzman.

Don't play ball.

collisionwork: (mary worth)
As we swing into the last days and performances of Gemini CollisionWorks' month at The Brick, some final media attention has appeared, which is always appreciated, no matter where and when (well, not really, but close enough).

A nice blurb at Gothamist, which may not linger there forever, so I'll reprint it here for archival purposes:

When future theater historians look back on underground auteur Ian W. Hill, they may well wonder, "Was this one man or one hundred?" Hill's month-long takeover of Williamsburg's Brick Theater – in which he's directing, performing, producing and probably simultaneously running lights and selling tickets for three productions (two of which he also wrote) – ends this weekend. Tonight is Everything Must Go (Invisible Republic #2), a play "in dance and fragmented businesspeak. A day in the life of 11 people working in an advertising agency as they toil on a major new automobile account, interspersed with backbiting, backstabbing, coffee breaks, office romances, motivational lectures, afternoon slumps, and a Mephistophelian boss who has his eye on a beautiful female Faust of an intern." Plus singing! – John Del Signore

"Was this one man or one hundred?"

One. Just one. One very VERY tired one.

Plus a Berit. One (1) Official Berit™ (several people have told me they want a Berit™, but I seem to have the only one).

Well, it's nice, and pretty much on the money (except, "singing?"- there's no singing in the show . . .). Also, of course I don't run lights - that's Berit™'s job - just projections for Spell and I only occasionally sell tickets when I can't get someone else.

Ah, I just found the other bit of press online - I thought it was only in the print edition of the Williamsburg Courier. Yeesh, that's the most unflattering photo of me ever in print . . . it looked bad enough in the print version but clearer and online? Yuck. Ladies and gentlemen, there he is, Mr. Pigmeat Markham. At least the first two paragraphs kinda explain WHY I look so sweaty and haggard (if you make the connection).

Yup, this is "A 'Hill' of a Time at The Brick in August." {sigh} Well, it's a nice piece that gets the facts pretty much right - though once again an article implies I was brought up by my dad in NYC when I tried to make it clear I'm from Cos Cob, CT and spent just weekends in the City (actually, it kinda mixes facts in a confusing way there - which may not be the writer's fault but an editor's - that's how it's happened before). Sorry, Mom.

And I should really stop being so hard on writers/editors using my last name in silly ways in headlines -- I remember writing for my school newspaper, and it's true, there NEVER seems to be a good headline for anything and you always make up something involving a name just to have something to put there, even if you're not happy with it.

It's not as bad as the critic who panned an evening of T.S. Eliot plays directed by myself and Edward Einhorn, who closed the review with a strange, non-sequitur comment on Edward's last name (about how it's German for "unicorn"). We were puzzled by the strange comment, until I went back and looked at the critic's other reviews and saw that he did this repeatedly when he had no way "out" of a review - find someone in the company with a last name he could make a multi-lingual pun out of, and then do it in a way that reflected his like or dislike of the show, no matter how forced it was. Pathetic. Really, really pathetic.

Sometimes the noun of a last name can be fun - I hung out in school a few times with a bunch of friends whose last names were all nouns or adjectives, and I had the most "normal" one - David Gay, Charles Virgin, Mike Little (who at 16 years old was 6'5", burly, and massively bearded), and Mike Newsom (which didn't really count, but you could elide it enough to sound like "nuisance" if you wanted). So when we were together (or in various combos) we could introduce ourselves like, "He's Gay, he's a Virgin, he's Little, I'm a Hill, and he's a New-s-s-m . . ." I think on one occasion James Wise was there and got thrown into the mix.

Chuck Virgin started that, I think. Funny guy. Must have run in his family - his parents named his sister "Mary." Really.

Anyway, what's in a name?

Jesus, What a Name

Just for fun, here's some more videos behind a cut - these are all leftovers from a post I made up for B(rick)log about influences, from the band Negativland or from Frank Zappa. These didn't fit the post, but I like 'em, so here they are:

There's no business like . . . )



Enjoy.

collisionwork: (spaghetti cat)
The last two nights have contained the penultimate show of Everything Must Go and the antepenultimate show of Spell. Tonight, the penultimate Harry in Love.

(I was friends with a Classics teacher at Northfield Mount Hermon - I never studied Greek or Latin but I was interested in it and we had interesting "language" talks - who was VERY firm, correctly, on the proper use of "penultimate," and the word and its variants have been stuck in my head, to be used far too often, ever since)

Nice houses, in both size and reaction, mostly. Spell is a hard show to get right on both sides of the text - performers and audience - and if you imagine, as I do, the actual "work," what the play is, what we're striving to accomplish, the connection, the communication, as an abstracted straight line with arrows at either end hanging in the air between stage and house, essentially connecting work and auditors, then Wednesday's Spell was a bit more as if that line broke apart and forked off into multiple smaller lines with arrows at the ends of them shooting off at stage and house - some hitting the performers and perceivers, some shooting off around them into walls, ceiling, and everywhere else.

The more I do this, the more it all boils down into purely technical things - the internal, "emotional" stuff will take care of itself, the text will take care of itself, if the rhythm and cadences, pace, focus, diction, projection, intensity, blocking, and light are all given the proper attention.

(and, yes, there's been some snippiness recently from playwrights - appropriately - on some blogs recently about directors using the word "text" when they mean "play," but I often do use "texts" rather than "plays" - not sure what the difference is exactly, but I know it when I see it - Spell and Harry in Love are "plays," EMG and the NECROPOLIS shows are "texts")

Especially focus. Everything else is almost a subset of that. I joke about it in Everything Must Go, but it's all about focus, focus, focus. Too many distractions going on too much of the time these days. Not enough focus. I'm getting old and crotchety here.

(hell, I always was - once I was at breakfast in my boarding school dorm, and the aforementioned Classics teacher, Scot Hicks - who of course had to have been in his mid-20s or so at this time - came in to the cafeteria, saw me, sat down at the table with a big grin on his face, and announced, "Ian, I've figured out what you are! You're a CURMUDGEON!" - I was 17 and I guess it's only gotten worse . . .)

In any case, Harry tonight. I am completely at a point of looking forward to the shows themselves, but dreading everything I have to do around them. I SO don't want to go and put up the Harry set, but . . . well, you gotta do what you gotta do.

I really need to figure out a proper photo call for each show, too.

Meanwhile, this morning, what does the iPod come up with as the first Random Ten from 26,103 tracks?

1. "Come On Down Maryann" - Ohio Express - Bubblegum Classics Vol. 5
2. "When the Record Goes Around" - The Playmates - Playmates Golden Classics
3. "Little Palaces" - Elvis Costello & The Costello Show - King of America
4. "Reject" - Green Day - Nimrod
5. "Watcha Gonna Do?" - The Evil - The Montells/The Evil LP
6. "Fingertips (banjo)" - They Might Be Giants - Apollo 18
7. "It's a Monsters' Holiday" - Buck Owens - (It's a) Monsters' Holiday
8. "Heart of Gold" - Johnny Cash - Unearthed
9. "Johnny Lee's Mood" - John Lee Hooker - Alternative Boogie 1948-1952
10. "Freak Trim (Kim Outs a Big Idea) - The Mothers of Invention - the MOFO project/object

Oh, hey, I got some new cat photos, too - most just from the last half hour, though Berit took this one a few days ago . . .
Moni Hug on Couch

I went around trying to get a good photo of Hooker this morning, but for once, he was pulling the Moni act and not holding still for a moment:
Fuzzy Hooker

And that's the best I could get. I went looking for Moni, figuring she'd be somewhere near the sleeping Berit, which she was, but it was hard to find her . . .
Moni and Berit's Foot

Hey, there she is, on the dirty clothes pile at the end of the bed, just above Berit's foot . . .
Moni on Dirty Clothes

Okay, off to finish the other blog post and get over to The Brick early so I can get the place set up and then actually relax for a while so I'm ready to do the show . . .

collisionwork: (GCW Seal)
The penultimate installment of my posts at The Brick's blog, B(rick)log is up, HERE. It's listed as being the last, but I'll have a postscript entry up later today - just some influential videos to wrap it all up - maybe late for any kind of promotional purposes, but what the hell, it'll feel more structurally sound to me.

collisionwork: (GCW Seal)
I've written two posts on Harry in Love: A Manic Vaudeville for The Brick's blog.

Part One is up now, HERE.

Part Two should be up tomorrow morning.

Though these are referred to as the last two there, I actually intend for there to be one more after these - maybe tomorrow afternoon - a final summary one with influential videoclips.

Now, off to tonight's Everything Must Go . . .

Richard Foreman
Reverberation Machines - Foreman
My Head Was a Sledgehammer
Dark Star poster

collisionwork: (spaghetti cat)
Two days off from shows again. {sigh} Nice, but I'm ready to get back to work.

Monday - did nothing.

Yesterday, Brick staff meeting in the evening, but before that I got to see a great show in the Fringe: Krapp, 39 by my old friends Michael Laurence (writer/performer) and George Demas (director). George, Michael, and I were part of the same theatre tribe for several years, around 1989-1994 or so. I probably hadn't seen either of them for 12 or 13 years, though.

The show was amazing - you can read about it at the link above or elsewhere - it's gotten great reviews, except in Backstage, which didn't get it - but it's only playing one more time in the fest, and is almost certainly sold out. Hopefully, Michael and George will bring it back and do more with it or something, so if that happens, jump on it.

The show, which is about being a young artist hitting the age where he's definitely not young anymore, was funny and touching and very depressing for me, as a contemporary and friend of Michael, who knew a number of the places and times and people he was talking about - including the brilliant, wonderful, talented, drug-addicted friend from that time who didn't make it to this one.

I talked with Berit a bit last night about the show, and that tribe of people, most of whom came out of NYU/Tisch from about 1989-1992, and she pointed out how unusual it was that ALL of them are still doing theatre - it seems like none of us gave it up at all (except the actress who had to make the decision between acting and rock band fronting, who chose the latter), which is VERY unusual. It seems like at least a third of the people I've known along the way in theatre or any of the arts got frustrated and dropped out and went back to school or found a different career, but none of us from that particular group have (day jobs to support theatre not counting).

With us, it was like how David Thomas of Pere Ubu describes the rock 'n rollers from Cleveland in the early 70s - like being Communists in the 20s - if you're too young and the dream is too strong, you can never get rid of it, you just have to follow it all the way. You have no choice.

After the show I got to hang and have a drink and catch up with Michael (after he talked to Eric Bogosian, who was there - Michael's acted in a couple of his plays) across the street at The Beekman - which, having had nearly nothing to eat, went right to my head and required a visit to the nearby Ruben's Empenadas at 64 Fulton Street, which I always like to hit when in that area (my dad and stepmom had a loft in that building in the 70s and I have fond memories of Ruben's) - apparently they're all OVER the city now, but reviews seem to say the original place on Fulton is still the best, though Ruben has nothing to do with them anymore, I think. A couple of fine meat pies cleared my head and had me ready for the Brick staff meeting (where more drinking was done, so I was tipsy again soon enough).

In the days off, I've been able to enjoy myself with the perusal and collection of a number of silly things found on YouTube. Very silly. Almost sophomoric (what did Michael O'Donoghue say? "'Sophomoric' is the liberal code for 'funny."").

So here's five videos that made me laugh to the point of tears or well beyond it, behind the cut:

David Lee Roth Flies, a Preacher Breaks Wind, the Daleks Meet Benny Hill, a Cat Eats Spaghetti, and the Large Hadron Rap )



Enjoy.

collisionwork: (GCW Seal)
The next installment of my notes on the three shows I have currently up at The Brick is now up at The Brick's blog, HERE.
The Devils - poster
Oliver Reed - The Devils

That is all.

collisionwork: (GCW Seal)
Here's the final promo email which I just sent out to the GCW list.

Anyone out there want to be on the mailing list and isn't getting these? Let me know - some of you may be getting them bounced because a) they're sent by BCC; b) they're sent from AOL; c) both of the above.

**********

You're getting this because you are on the GEMINI COLLISIONWORKS/Ian W. Hill/Berit Johnson email list - if you wish to be taken off it, please reply with REMOVE in the subject line.

**********

Oh, and -- if you've seen any of these plays, or plan to, please be aware that all three are registered with

THE NEW YORK INNOVATIVE THEATRE AWARDS
http://www.nyitawards.com/

and 25% of the judging for the awards is based on audience reaction. If you've seen the shows (or once you have seen them) PLEASE go to the site listed above to register and vote for our shows!

**********

ONE WEEKEND LEFT!
SEVEN PERFORMANCES LEFT!

THE TRIO OF GEMINI COLLISIONWORKS PRODUCTIONS AT THE BRICK ARE ALMOST GONE . . .

LAST CHANCE TO SEE . . .


SPELL - postcard front

Spell

a play by Ian W. Hill

" . . . like a wall-sized Brueghel painting, a sight to contemplate."
- Ellen Wernecke, EDGE


ONLY THREE PERFORMANCES LEFT!

Wednesday, August 20 at 8.00 pm
Saturday, August 23 at 4.00 pm
Sunday, August 24 at 8.00 pm

The story of a woman in trouble. Locked inside a cell (which might, or might as well, be her mind), an American woman who has committed a horrible, murderous act for what she considers patriotic reasons, but which she can only vaguely remember, is interrogated by military and medical figures as the voices in her head try to defend or attack her. A meditation on - among other things - whether violence can ever be justified, and if so, what limits are there?

with Olivia Baseman *, Fred Backus, Gavin Starr Kendall, Samantha Mason, Iracel Rivero, Alyssa Simon*, Moira Stone*, Liz Toft, Jeanie Tse, Rasmus Max Wirth, and Rasha Zamamiri.

EVERYTHING MUST GO - postcard front

Everything Must Go (Invisible Republic #2)

a play in dance and speeches by Ian W. Hill

ONLY TWO PERFORMANCES LEFT!

Thursday, August 21 at 8.00 pm
Saturday, August 23 at 8.00 pm

A play in dance and fragmented businesspeak. A day in the life of 11 people working in an advertising agency as they toil on a major new automobile account, interspersed with backbiting, backstabbing, coffee breaks, office romances, motivational lectures, afternoon slumps, and a Mephistophelian boss who has his eye on a beautiful female Faust of an intern. The day is comprised of endless awful business jargon interspersed with outbreaks of the musical-theatre inner life of the characters to a bizarre mix of musical styles and artists from the 1920s to the present

performed and choreographed by Gyda Arber, David Arthur Bachrach*, Becky Byers, Patrick Cann, Maggie Cino, Tory Dube, Sarah Malinda Engelke*, Ian W. Hill, Dina Rose*, Ariana Seigel, and Julia Sun.

HARRY IN LOVE - postcard front

Harry in Love
A Manic Vaudeville


a comedy by Richard Foreman
"In terms of skill and command, Hill and his company are in peak form here. I'm not sure that you'll ever see a Foreman play so successfully and accessibly mounted outside the Ontological Theatre."
- Martin Denton, nytheatre.com


ONLY TWO PERFORMANCES LEFT!

Friday, August 22 at 7.30 pm
Sunday, August 24 at 4.00 pm

Harry Rosenfeld is a big, neurotic, unnerved and unnerving man who believes his wife, Hild a, is planning to cheat on him (and he seems to be right). His response: drug her coffee and keep her knocked out until her paramour goes away. The plan works about as well as should be expected and, over several days, a number of people – the paramour, a doctor, Hilda’s brother, and an "innocent” bystander - are sucked into Harry's manic, snowballing energy as it becomes an eventual avalanche of (hysterically funny) psychosis. Who wrote this crazed farce? Well, before he became known as the writer-director-designer of his groundbreaking and legendary abstract stage spectacles, Richard Foreman was seen as a promising playwright in a more, shall we say, traditional mode, writing “normal” plays with standard structures, characters, settings, and events, unlike those that he was to become known for from 1968 onward.

with Walter Brandes*, Josephine Cashman*, Ian W. Hill, Tom Reid, Ken Simon*, and Darius Stone*.

**********

ALL SHOWS:

designed and directed by Ian W. Hill
assisted by Berit Johnson


at
The Brick
575 Metropolitan Avenue, Williamsburg, Brooklyn 11211
½ a block from the Lorimer stop of the L Train / Metropolitan-Grand stop of the G Train
www.bricktheater.com

All tickets $15.00

Tickets available at the door
or through www.theatermania.com
(212-352-3101 or toll-free: 1-866-811-4111)
Want to see all three shows for the price of two? Preorder them here:
https://www.ovationtix.com/trs/store/122

* Appears Courtesy of Actors Equity Association

**********

hope to see you at the shows, and thanks for your continued support,

Ian W. Hill, arts
Berit Johnson, crafts
Gemini CollisionWorks

Gemini CollisionWorks is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions in behalf of Gemini CollisionWorks may be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

https://www.fracturedatlas.org/donate/1394

**********

Ian W. Hill/Gemini CollisionWorks online:

blog: http://collisionwork.livejournal.com
images: http://www.flickr.com/photos/geminicollisionworks/
info: http://www.myspace.com/geminicollisionworks
store: http://www.cafepress.com/collisionworks

New Blue

Aug. 19th, 2008 12:52 am
collisionwork: (kwizatz hadarach)
When I was a fairly young film geek, my dad and stepmom gave me Manny Farber's classic collection of film writing, Negative Space.

I enjoyed a lot of it, but was often hung up by his negative opinions of films and filmmakers I held dear, who he could slight greatly with a brief, cutting remark. So I didn't go back to Farber much for years. Eventually, I did, at an age where I could defend, in my head at least, the artists I loved from Farber's disapprobrium while appreciating his insights, which were great.

His most famous essay, "White Elephant Art vs. Termite Art" is one of the great statements of 20th Century criticism, and I can't recommend it highly enough (even if it too slams artists I revere - the argument is sound, if I think his examples are sometimes off).

Manny Farber died yesterday at the age of 91. The film geek world mourns.

A great overview of Farber and the many reactions to his death (and details of his life and work) can be found HERE at Movie City Indie.

Girish Shambu wrote a piece over two years ago on Farber's most famous essay HERE, and while he has the same problem with some of Farber's distastes for his favorites that I do, he starts a good discussion on the essay (with lengthy quotes) that continues into the comments.

Paul Schrader, film critic-turned-filmmaker, owns a painting by Farber, Untitled: New Blue, and made a short film about it, its creation, and Farber (backed by one of my favorite Philip Glass piano pieces, "Wichita Vortex Sutra"), which can be seen at his site HERE.

. . . [what] termite art aims at: buglike immersion in a small area without point or aim, and, over all, concentration on nailing down one moment without glamorizing it, but forgetting this accomplishment as soon as it has been passed; the feeling that all is expendable, that it can be chopped up and flung down in a different arrangement without ruin.

collisionwork: (GCW Seal)
My third entry on The Brick's blog, B(rick)log, concerning some of the inspirations and connections for and between Spell and Everything Must Go, is up, HERE.

Among the influences discussed:

Richard Hamilton - Today's Homes
John Heartfield - Butter

Today, rest. Three more performances of Spell, Wednesday, Saturday, and Sunday; two more of Everything Must Go, Thursday and Saturday; and two more of Harry in Love, Friday and Sunday.

SPELL - Ann & The Janes

Moira Stone, Fred Backus, and Alyssa Simon in Spell, from the tech booth, a couple of performances ago.

collisionwork: (Default)
So Berit hasn't had a full haircut in at least nine years. I trimmed her mane a few times every now and then a few years back to get the ends even, but pretty much its been untouched for almost as long as I've known her.

At its longest point, her hair had reached about four foot, eight inches.

She enjoyed the long locks in some ways, but really really hated it in others - she said she only didn't get it cut as she didn't want to deal with the hassle of maintaining it (her hair grows faster-than-average to begin with).

I've heard the complaints for years (it's heavy, it's hot), but she seemed a few days ago to be getting more serious about this - again, though, I've heard it before.

Friday night, she was saying that it was all coming off that night. I didn't quite believe her.

We got home from the show that night, she did a little internet research on what she planned to do, and went off to the bathroom to prepare. It took so long, and I got sleepy and ready for bed, so I didn't think anything would be happening that night.

Nope. As 2 am struck, she told me I had to stay up and be the haircutter.
BERIT'S HAIR 1 - combing it out

Here, she has combed out and prepared the stuff for cutting. We laid out a painting tarp and chair in the biggest open spot we could find in our cluttered place, and I got the implementa ready . . .
BERIT'S HAIR 2 - the cutter

(you sure you trust this man with scissors?)

The first, biggest step took very little time . . .
BERIT'S HAIR 3 - nine years worth

We held her hair back at shoulder length and I cut it right across, leaving a pound of hair on the floor (we weighed it later).

And it was a lot lighter up there now . . .
BERIT'S HAIR 4 - after the cut

Hooker the cat had trouble comprehending what was going on, having a tiny kitty brain . . .
BERIT'S HAIR 5 - interlude - Hooker is stunned

Then, out came the barber clippers my mother gave us a few years back . . .
BERIT'S HAIR 6 - the clippers

. . . and the kitties ran and hid for a bit.

I started with a 1" clipper and worked it down, then went to 1/2" in the back and 5/8" on the top, except for the part where she was keeping the full length (she thought this style was a "Chelsea" but it apparently is actually a "Devil Lock").

The kitties slowly came back out during the clipping to watch, warily:
BERIT'S HAIR 7 - interlude - the cats are wary

Mommy . . ? What happened to the Mommy?

Yeah, they weren't sure quite how to react. After the tedious process, Berit took the clippers into the bathroom to work on places I had a hard time reaching without hurting her, and Hooker examined things more closely.
BERIT'S HAIR 8  - interlude - Hooker still confused

So B finished off the clipping . . .
BERIT'S HAIR 9 - final touches

And emerged to stun the cats . . .
BERIT'S HAIR 10 - What The--

What th--?

With her new 'do (here in one hank, it usually hangs loose now) and a pound of loose hair:
BERIT'S HAIR 11 - finale

And she's a lot happier with how her head feels now, believe me.

collisionwork: (GCW Seal)
So, as part of promoting the shows, I'm writing some pieces about them over at The Brick's appropriately-named blog, B(rick)log.

The first piece is up, a rather long text piece (it has been suggested in future, correctly, that I break these things up with some pictures) about the origins, creations, and meaning of Everything Must Go (Invisible Republic #2).

You can find that specific post HERE.

That is all. Come see the shows if you haven't yet.

EVERYTHING MUST GO - postcard front
EVERYTHING MUST GO - postcard reverse

Five more performances of Everything Must Go.

Four more performances of Harry in Love.

Three more performances of Spell.

collisionwork: (Great Director)
Really good shows of Everything Must Go on Wednesday and Harry in Love last night. Not the most sizable houses for either, but large enough to feel good performing to, and both of them very responsive in all the right ways. Fun and rewarding.

We had the AC off during Harry for the first time last night, and while I have absolutely no way of proving if the sonic reduction affected things for the better or not (we got more laughs, certainly, than ever before but it could have simply been a friendlier house), I know it made my own performance subtler, more shaded, and more responsive to the vibes I felt coming off of the audience, and I felt like I was able to "play" them better. Fun.

Spell is off for this entire weekend (I miss it), so, as I may have mentioned, we're alternating EMG and Harry, which is a strain, as they're both physically demanding shows on me.

When I planned doing these three shows, I was only going to be acting in Harry, but then someone dropped out of EMG and rather than look to strangers in recasting, which I am always far too nervous about, and having no one else I knew appropriate for the part, I took it on myself. Not smart. I'm doing it okay, but I wish I was only acting in one show. I tried to diet and exercise to be more ready for doing both, but, unlike Hamlet last year, where I got it together pretty much as I wanted, I wasn't as ready as I'd hoped for these two. I can pull it off, but I suffer more the rest of the days when I'm not doing it.

Ah, well, just have to keep myself together, at least through this weekend - the next two days I'm looking at doing BOTH shows each day, matinee and evening, plus having to deal with striking and setting up the sets. Oy. Won't be doing anything like this again.

Spell got a nice little notice from Ellen Wernecke online at Edge, which was rewarding to see. Mixed to positive, really, without much in the way of pull quotes, except for this one, which may be my favorite one I've ever got:

" . . . Spell is, like a wall-sized Brueghel painting, a sight to contemplate."

We should be getting another notice for Spell, but really late in the run. I think we've got all we're going to for Harry. No apparent interest in Everything Must Go critically, unfortunately. Damn.

This morning, as I type this, here's the first Random Ten that comes from the 26,103 tracks on the iPod:

1. "You're Everything to Me" - The Orchids - A Taste of Doo Wop Vol.1
2. "Tiny Sick Tears" - Frank Zappa & The Mothers of Invention - You Can't Do That On Stage Anymore, Volume 4
3. "Damn Good Times" - They Might Be Giants - The Spine
4. "So Come On" - Les Fleur De Lys - Jimmy's Back Pages...The Early Years
5. "She's Looking Good" - Rodger Collins - Soulin' Vol 3
6. "At Night" - The Killjoys - Raw Records - The Punk Singles Collection
7. "Homesick" - Homesick James & Johnny Shines - Chicago Slide Guitar Masters From Tampa Red To Elmore James
8. "Little Boxes" - Teenage Head - Teenage Head
9. "Is Anyone Out There?" - Altered States - Return of the Batcave volume 2
10. "California Dreamin'" - The Mamas & The Papas - Rock Archives - 60's, 70's, 80's

Sorry I have no new cat photos; I can't seem to get the camera and the cable that connects it to the computer in the same place at the same time.

Okay, more paperwork to deal with. Back to it . . .

collisionwork: (prisoner)
One of those mornings of aches and bad thoughts. So it goes. I'll be fine tonight. I have a show. Hope I have an audience.

Went out putting postcards at Fringe venues yesterday, but didn't make it to all of them as planned - I had forgotten why I had decided last year to only ever do it again by car and went on foot instead. Dumb. It's not the walking all over the LES/Village/Tribeca/Lower Manhattan that wears me out, it's the carrying 15 pounds of cards while walking all that distance that does it. And I was carrying more cards over more distance than I had before (in 2005 when I first did this I had just the World Gone Wrong card; last year it was two cards, NECROPOLIS and The Hobo Got Too High; this year, it was three - that did it). I got through a third of the venues (plus just as many non-Fringe theatres in the area), and I'll get the rest by car tomorrow - too much to do today to get set for the next five days and seven performances.

Tomorrow (or tonight), I also have to write my thank-you letters for the Materials for the Arts donors. Can't forget that. And something for The Brick's blog. Oh, and send some photos to The Brooklyn Courier -- I'll do that now . .

Ah, got some breakfast, too, in that little pause . . . feeling much better now.

Still, worried about houses for the shows. But then, I always do. And I have to be reminded that on shows of mine in the past which I remember having great houses for the whole run, my memory is pretty faulty -- whenever I mention the original 2005 World Gone Wrong as always having good crowds, Fred Backus reminds me that about half the shows were actually played to pretty sparse groups - especially felt when the cast numbers 21 people. The box office figures bear Fred's memory out better than mine, for that matter - WGW wasn't an especially expensive show, and, unlike usual, we made a profit from it, but the profit was a bit under $100. Not so great, really.

So, I should expect and bear through the slow middle weeks of a 4-week run to get to the bigger last ones. As with Ambersons, where we wound up having to turn a few people away at the last show.

I was expecting a review of Harry in Time Out New York today, but it's not online yet - don't know about the print edition. Unfortunately, the blurb for all three shows has been changed to include the reviewer's opinion of the production, and it's not good (it also might be all we get, rather than a review, which is fine by me). And unlike the Backstage review which basically says we did a good production of a not-good play, this one says we - well, very specifically I - did a bad production of an okay play. Great.

Not that I care about the opinion, but I care about the potential effect on butts in the seats - not that I think this will turn people away who were planning on coming to see it, but it won't bring any new people, I think. Oh, well.

And another two people died, who I had some kind of brief sharing-of-moments with that brought back memories.

George Furth was an actor and playwright who wrote the books for the Sondheim musicals Company and Merrily We Roll Along and co-wrote the underrated mystery play Getting Away with Murder with him as well. I worked as a tech on the 1994 revival of Merrily, on which both Sondheim and Furth were quite involved and present most of the time, and both of whom were quite friendly with all of us on the cast and crew - I was working for projection designer Wendall K. Harrington, who Sondheim particularly liked, so I got a nice shock at one of my first rehearsals when Sondheim dropped in a couple of scenes into Act One, saw Wendall sitting on my left, smiled and said hi to her, then plopped down in the seat on my right (as Wendall, who knew I was a big Sondheim fan, enjoyed my nervousness for the rest of the Act).

George was even more outgoing and chummy with everyone, and I liked him a lot - a great storyteller and very very funny and cutting while also generous and warm. I wish that I had realized at the time why he seemed so familiar to me - I knew he was also an actor but didn't place him from the many things I had enjoyed him in, especially Blazing Saddles, where he gets some memorable lines as "Van Johnson" ("The fool's going to d-- . . . I mean the SHERIFF's going to DO it!"), but also The Man With Two Brains, Sleeper, Myra Breckinridge and about every damn sitcom of the 70s. I would have loved to have heard his stories about those - and I bet he would have had some good ones and been MORE than willing to share them.

He enjoyed playing with the members of the company as well who were a bit starstruck by being in the presence of *S*T*E*P*H*E*N*S*O*N*D*H*E*I*M* by throwing out examples of especially human and silly behavior by The Great Songwriter, or needling cast members about their overdone attempts to not seem starstruck.

At the opening night party for the show at Sondheim's Turtle Bay townhouse, Furth walked in on a number of us lounging around the "composing room." I was sitting with my date at the grand piano, imagining the composition of all those great songs there, Malcolm Gets was sitting at the immense wooden desk, looking around with wonder at all the boxed original scores on the shelves, and several other actors (I think including Phillip Hoffman) were sitting on the big leather couch. George walked in, sized up the fanboyishness of the room, smiled, and casually said, "Actually, when Steve and I write, he's almost never at the piano - usually I sit at the desk there, and he sits over there on the couch." And EVERYONE on the couch jumped slightly. And George smiled again and walked out, chuckling.

Sweet guy.

I never met Bernie Brillstein, of course, but I saw him speak once, at Jim Henson's funeral service at the Cathedral of St. John the Divine, and he had one of the best lines I've ever heard at a memorial service.

Brillstein had some hard acts to follow: Frank Oz had just given a beautiful remembrance of Henson, telling an incredibly funny (and long) story about his employer (and Oz's eulogy made it clear that Henson was always his employer and collaborator, but they were never really close friends - which was interesting) - then, after he got his laugh, Oz tried to say something else, but suddenly broke down and had to be helped from the podium.

THEN, Big Bird walked out, wearing a black armband, and sang, "It's Not Easy Being Green" in a broken, crying voice.

Okay, so, not a dry eye in the packed Cathedral, right?

Big Bird finished the song by looking up and saying, "Goodbye, Kermit." Now -- people were still wondering at this point if Kermit the Frog would actually outlive Jim Henson, since they seemed inseparable. Of course, Henson had made plans for the continuation of his characters, but no one knew that yet. So, now everyone's crying harder.

Brillstein is introduced, and has to take the podium after all this. He stands there a long time, crying himself (a friend who's a son of one of the Muppet performers said to me later, "My god, you saw a high-powered Hollywood agent CRY!"). Then Brillstein says, finally, in his best "tough agent" voice, "Jim always said, 'don't follow the Bird, nobody can follow the Bird.'"

Which doesn't maybe sound so great, but damn if it wasn't exactly what was needed to release the tension, get a huge laugh, and bring the day back to being one of joyful remembrance. Nice job, Bernie.

Okay, Berit's up and demanding breakfast and laundry duties from me. Off I go . . .

collisionwork: (eraserhead)
Finally, my body is getting the message. Woke me up at exactly 6.00 am this morning, kept me up about a quarter-hour, then let me fall back asleep until 8. About time.

Yesterday, excellent performances of Harry in Love and Spell (not that I don't have notes, but the shows were just great with good energy), and week two of the Gemini CollisionWorks August Trio at The Brick is down.

And Berit & I have two days off. Finally.

Except of course, for making a postcard run to the Fringe NYC venues, and doing some email work on the shows (notes) and the upcoming Clown Festival (technical arrangements). Tomorrow.

Today, we're hunkering down. The original plan was to arrange the day so we don't have to leave the apartment, but I think I have to go out for some groceries. I wanna go get myself a breakfast sammich from Alice & Ben's grocery next door, too.

Tomorrow, we go see The Dark Knight in IMAX. Just 'cause. We almost never see movies in the theatre anymore (when in Maine in Summer we've sometimes gone to a drive-in), so it'll be a nice change (in 2006, we saw INLAND EMPIRE twice in December, and that was it, in 2007, it was No Country for Old Men, also twice, also in December). Until I put on the new Criterion DVD of Mishima a few days ago, we hadn't had the TV on in weeks (and then we watched Vertigo two nights ago). Too much to do with plays to bother with others arts and/or entertainments right now.

But we just want to go somewhere cool and sit in front of a big screen right now and watch Big Things Go 'Splody. Well, I do and B is happy to join me.

We live so much at The Brick, it'll be nice to get away. How much do we live at The Brick? Well, I was amused to look up the space on Google Earth not long ago and see this exterior view . . .

Petey At The Brick on The Google

Yup, that's our good ol' Big Blue Plymouth (and I'm sure David Byrne didn't have a vehicle anything like this in size or form when he wrote the song of that name on The Catherine Wheel, but it's become our car's theme song anyway) - sitting, as usual, in front of The Brick (with our landlord's car that went up in flames right there directly behind us). Quite obviously, given the poster and signboard out front (for those who don't know The Brick, it's the little entranceway behind the tail of Petey) this was obviously taken during last year's Clown Festival, with the old door still on.

Yeah, it's just chance that Petey was there when the Google Car drove by, but it was a damned good chance, I can assure you.

Oh, and as that reminds me, just for fun, inside the cut, two videos: Talking Heads excellently performing Byrne's "Big Blue Plymouth (Eyes Wide Open)" live in England in 1982 - I wish there was more band footage and less artsy stock footage but whatever - and, apropos of nothing, Boris Karloff doing an ad for the Ronson Comet lighter in the late 60s.

Find a dangerous, windy place . . . )



In other news, the damned fine Bernie Mac has passed on, and the MAGNIFICENT Mr. Isaac Hayes has as well. He was the Duke of New York, he was A-Number-One (hey, maybe today's a good day to pull out Escape from New York, and then, by extension, a whole John Carpenter fun-fest!). He was also the artist behind the great Hot Buttered Soul album - which I can't access right now, as I only have it on vinyl - and, of course, he was Chef on South Park.

And he wrote the terrific "Theme from Shaft." Leonard Jacobs, over at his blog, does a great service by posting the entire opening title sequence from Shaft in honor of Mr. Hayes, which is valuable as you can see why Hayes' song was such a GREAT theme song for a movie, even more than just as a song on its own - the rhythms and sounds in that piece accompanying Richard Roundtree in his walk around a freezing cold Times Square (great period view of marquees and theatre posters!) are just beautiful (as is Roundtree's FINE coat). Beautifully shot by noted photographer Gordon Parks (here as director).

Okay, thunder outside - time to run and get the sammich and hunker down with some entertainment for the day. The "DO NOT DISTURB" sign is out.

UPDATE: Oh, right - We'll be posting some thoughts on the creation and meaning of the three current shows at The Brick's aptly-named blog, B(rick)log (and when I say, "we" it really means me but I'm hoping I can convince Berit to give her own point of view in an entry). An introductory note is up now. So that's something else I have to do tomorrow or the next day, write some more of these things . . .

collisionwork: (red room)
Okay, so now that I DON'T have to be getting up at 6.00 am every morning, and I'm trying to relax, get more sleep, and be rested for actually performing the shows, why does my body decide to start getting me up earlier and earlier?

To wit, this morning, at 4.11 am?

And then, just NOT want to go back to sleep?

Well, maybe, like yesterday, I'll get back to sleep for a couple of hours in a little bit.

Yesterday was supposed to be the first double-header day for us in our trio of shows running in rep at The Brick, but only two people showed up for Spell, so we called the show. I hate doing this, no matter how many people are in the audience, but it's a hard show to go through for at least one performer, and when I put it to the cast, some didn't care one way or the other, and several did, in the way of "love the show, but don't want to go through it for two people." The audience was very cool with it and agreed to come back (to the point of saying we could keep their money and they'd definitely be back) and I told them I'd comp in a guest for each of them if them wanted to bring anyone else (Robert Honeywell did this when he called two performances of Greed and it was a nice thing to do).

We had a house for the evening's Everything Must Go, performance #2 - which is going okay, but needs to be more focused and tight in the non-musical number sequences. I wondered, when staging the numbers, if any would get applause afterwards, and was self-conscious about not staging any kind of "button" moments or holds after the numbers to account for any response. We got some clapping last night after "Dry Bones," but no where else, I think. Not sure if there should be clapping encouraged after the songs or not . . . My feeling is mostly "not," but it's always odd to end a big dance number and just . . . move on to talking. Of course, it's not really a musical, it's a play with dances, but it does share some characteristics with musicals -- Gyda Arber solved a structural problem early on by noting that Becky Byers' "I Wish" dance number (as its come to be known in musicals) was placed WAY too late in the show compared to where it would be in a musical, and moving it back fixed a lot of problems (and gave us a light, comedic scene right where we needed one).

Hope people show up today. It's damned depressing calling shows . . . It happens, and probably we'll wind up filling the house repeatedly at the end of the run, but I hate this period in a month's run where you just can't seem to get anyone in. Berit says the original shows are "hard sells." Yeah, probably. Some might say going up against FringeNYC might have something to do with it, but I did as well in Augusts 2005 and 2007 at the same time as The Fringe as I've done any other time - but there I had World Gone Wrong, and noir is an easy sell . . .

So now, here I am, wishing I had more sleep so I can relax before the demanding task of playing Harry Rosenfeld in Harry in Love at 4.00 pm. Maybe in a bit.

So I'm playing around with the iTunes as I reload The Brick's iPod shuffle with songs to play in between shows at The Clown Festival instead of the ones that were on there for The Film Festival. I took a look at the "Top 25 Most Played" playlist, as I do often to see - since we usually play the iTunes on random - what the random iTunes brain likes to play the most. I had thought of posting a list of these "most played" songs last week, but at that point, the list was full of all the songs from the shows that I had to play over and over as I arranged them on CDs and/or edited them into different forms, so it was rather un-random.

Berit must be playing it a lot, as all of those songs are now gone from the list - even Regina Spektor's "Back of a Truck," which has been in the top 5 for over a year since I went through a spate of playing it over and over and over a while back.

Which is how B & I both listen to music at times - we get fixated on one song and then play it over and over and over and over again, many MANY times in a row. Here for example is the list of the 24 most played on our iTunes at the moment (from out of 53,229 tracks), and I'm POSITIVE the top 4, maybe even 5, songs are up there from B playing them on repeat . . .

1. "Candidate (1973 alternate version) - David Bowie - Diamond Dogs - 42 plays
2. "Showtime" - Electric Six - I Shall Exterminate Everything Around Me That Restricts Me From Being The Master - 38 plays
3. "Carlotta Valdez" - Harvey Danger - Where Have All The Merrymakers Gone? - 32 plays
4. "New Killer Star" - David Bowie - Reality - 28 plays
5. "Cracked Actor" - David Bowie - Aladdin Sane - 25 plays
6. "Starman" - David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders from Mars - 25 plays
7. "All Together" - The Beau Hunks - The Beau Hunks Play More Little Rascals Music - On to the Show! - 22 plays
8. "Black and White" - Bellevue Cadillac - Swing This, Baby! - 22 plays
9. "Think" - The Siegel-Schwall Band - ...Where We Walked - 22 plays
10. "Bells" - The Beau Hunks - The Beau Hunks Play "Little Rascals" Music - 21 plays
11. "Ah! 'Tis Love" - The Beau Hunks - The Beau Hunks Play "Little Rascals" Music - 21 plays
12. "Dog Song" - The Beau Hunks - The Beau Hunks Play "Little Rascals" Music - 21 plays
13. "Intermezzo" - The Beau Hunks - The Beau Hunks Play More Little Rascals Music - On to the Show! - 21 plays
14. "Life on Mars?" - David Bowie - Hunky Dory - 21 plays
15. "Beloved Movie Star (Billie Wilder Mix) - Stan Ridgway - Holiday in Dirt - 21 plays
16. "Experimental Film" - They Might Be Giants - The Spine - 21 plays
17. "Rajah" - The Beau Hunks - The Beau Hunks Play More Little Rascals Music - On to the Show! - 20 plays
18. "Dial 'O' for Bigelow" - Fred Lane - Car Radio Jerome - 20 plays
19. "Hollywood Swinging" - Kool & The Gang - Wild and Peaceful - 20 plays
20. "I Just Want to Be a Movie Star" - Lester Bangs & The Delinquents - Jook Savages On The Brazos - 20 plays
21. "I'm in Love with a German Film Star" - The Passions - Thirty Thousand Feet Over China - 20 plays
22. "Dinner and a Movie" - Phish - Junta - 20 plays
23. "Hollywood Cat" - Trig Williams - Wowsville! - 20 plays
24. "Love and Death (radio spot) - Woody Allen - 20 plays

Okay, so who's the favorite artist in this household?

No, not The Beau Hunks, those are actually all random. Our Beloved Mister Bowie, as usual, is all over this list.

"Carlotta Valdez" however is the song of the moment, and usually winds up being the first song played in the car on the way home from The Brick each night. It's a musical retelling of Hitchcock's Vertigo, and I've kept meaning to put the film on when we got home for a while. Finally did last night and stayed awake for about 2/3rds of it (not the first 2/3rds either, I was up and down the whole time). Good song - I don't know where the hell I got it from, but I should look into that band some more . . .

Okay, I'm off to deal with box office worker issues and go over Harry lines again before getting some more rest.

collisionwork: (approval)
So, PBS has decided to stop airing Mister Rogers' Neighborhood on a daily basis, regulating it to an off-hour once-a-week token appearance. They are supposedly leaving it up to local PBS affiliates to decide whether or not to run it daily, as it has been for years, but given the economics and setup of PBS, it's unlikely that many of them will.

This made me a little sad for nostalgic reasons when I read it, but, hey, that's progress, right, and I'm sure that more than a few of the episodes (created 1968-2001) are rather dated now. Though it's not like I didn't grow up in the 70s watching cartoons and children's programming created from the 1930s-1960s. Mr. Rogers left us in 2003, and his neighborhood is meant, I guess, to fade off like most transitory TV shows.

However, [livejournal.com profile] mcbrennan makes the point that NO ONE on TV is doing anything like what Fred Rogers did for kids, and there is NO space anywhere for children like the Neighborhood on the electronic babysitter.

When I was growing up, Fred Rogers was necessary, not just for being a sea of calm in between the loud, aggressive, hysterical (and wonderful) antics of Sesame Street and The Electric Company - which could make a kid more hyper than three bowls of Super Sugar Crisp - but for being an example of adult kindness and gentleness that was inspirational and unusual then, and perhaps even more so today.

Cait Brennan includes some links and other suggestions on where to go and who to write to (politely) suggest that getting rid of daily Mr. Rogers may Not Be A Good Thing. If you have the slightest interest, please check them out.

It's not just about nostalgia.

collisionwork: (Great Director)
Jesus, will my body finally get the message that THE SHOWS ARE OPEN and YOU DON'T HAVE TO WAKE UP TO DO THINGS EVERY MORNING AT 6 AM AFTER LESS THAN 5 HOURS OF SLEEP?

Maybe next week.

The shows are going. Third show of Spell last night, third one of Harry in Love tonight. I was originally going to spend today going around to all the FringeNYC venues putting out cards for the three shows (at the venues that allow cards for non-Fringe shows; not all of them do), but after a look at the Fringe venue map, seeing how spread out all the spaces are this year, and remembering it's Harry tonight, I decided to make it an easy rest & study day instead, and go do the card run tomorrow.

Some press out there. I remember mentioning here the interviews I did for The Brooklyn Paper and PAPERmag online. Don't think I linked to the former, which came out a while back - it's HERE, and well-done, though I'm tired of that headline (this is like the third time it's shown up on something about me and/or my work - come on editors, find some other way to use "Hill" that isn't so random, wouldya?).

Tom Murrin let me know the PAPER piece is up HERE and very nice it is, too (though, oh god, I just noticed I'm called "downtown's Orson Welles" again - and no I can't explain why that bugs me - Berit says I'm silly for my distaste of the phrase - but it does bug me. It shouldn't, right? I mean, right?).

The Backstage review of Harry is up HERE. Not exactly a good one, but it's the play's fault, for this reviewer, not the production's, so I'm off the hook there. Odd tone to the review - one of the actors in the show (who might not like to be named) called it more a "book report" than a review, and I see the point, but can't define why.

We'll see what reviewers make of the other shows, if any reviewers show up for those (still waiting on two more reviews of Harry to come out) - one came to Spell last night, another is scheduled for later for that show (much later - won't have much effect on getting houses - this reviewer was going to come to opening night, but when that was changed to a "preview" I had to tell reviewers not to come that night - at least that one is coming back, another one can't, and isn't - he went to see Twelve Ophelias instead). No one has booked for Everything Must Go yet, dammit.

UPDATE: Martin Denton's nytheatre.com review of Harry is up, HERE, and it's a good one, both about the production and in his take on the play itself, I think. Nice to see.

So B & I are happy to be getting some rest, though we still have a big BIG weekend o'shows to get through. Next Monday and Tuesday are the first days in a while where we don't HAVE to do anything. B thinks we should arrange Monday so we don't have to leave the apartment at all, and just hunker down. Fine by me, though I want to get out and DO something non-show-related on Tuesday. In particular, I wanna see The Dark Knight in IMAX. I'm just gonna keep saying that and it will happen. I wanna see The Dark Knight in IMAX. I wanna see The Dark Knight in IMAX. 2.00 pm, Tuesday. Gonna happen. Just want big big movie that has nothing to do with my work. We won't be getting to our favorite drive-in in Maine this year (we're stuck in NYC until after the season), so we might as well do this.

Okay, as long as I'm up, here's a Friday Random Ten from the 26,100 on the iPod this morning:

1. "Concert/Single Promo" - The Golliwogs - Psychedelic Promos & Radio Spots, vol. 3
2. "Love Goes Down The Drain" - The Monochrome Set - Strange Boutique
3. "Up The Junction" - Squeeze - Cool for Cats
4. "Wait for the Black Out" - The Damned - The Black Album
5. "The Hands on My Clock Run Still" - Now - Psychedelic Archaeology Volume 8
6. "These Days" - Nico - Chelsea Girl
7. "Now I Have" - The Golden Ear-rings - Just Ear-rings
8. "Somebody Put Something In My Drink" - The Ramones - Loud Fast
9. "Finnish Farmers" - Laurie Anderson - United States Live part 2
10. "Black Network News" - Zero Boys - History Of

and special bonus track:
11. "Signifying Blues (extended version)" - Bo Diddley - The Chess Box

"Say lookhere . . . look like your process took a recess!"

"That's alright . . . at least I can afford to get one. You wearin' one a them do-it-yourself jobs, ain'tcha?"



No kitty pix today - I keep leaving the camera at the space to get show pix.

Off to get breakfast and maybe some more rest . . .

collisionwork: (music listening)
Besides the unpleasant story of 20 years ago, a chance YouTube finding this morning led me to memories of 19 years ago.

Every now and then, when I think of it, I check YouTube to see if anyone has posted the four videos shot for the first album by Tin Machine, David Bowie's side rock group project of 1990-1992 or so. I've been trying to find these videos since 1990, when the first album came out - I heard they were included with the press kit on a VHS tape, but apart from the video for "Under the God" which played on MTV a few times (I never saw it), they had vanished.

I wanted to see them because I was there as an extra for part of the shoot, and was wondering if any of me wound up in the final product.

Well, EMI America has finally posted the four videos to YouTube. You can't embed them, but you can find them at these links:

"Heaven's in Here"
"Tin Machine"
"Prisoner of Love"
"Under the God"

(it's best to be sure to click that new "watch in high quality" button under them, too, except for "Heaven" which doesn't have it for some reason)

So, yes, I was there for some of an evening at that shoot.

I had been in the lobby of my NYU dorm on Washington Square South (Judson, no longer a dorm, but a great place then) when a girl came in that I vaguely knew (wait, was it rock and roll fan/writer, now annoying reactionary Dawn Eden, who I was friendly with at that time because of shared rock tastes? Maybe, can't think who else it could have been . . . well, I liked her a lot back then). Whoever it was, she told me that they were shooting a new David Bowie video at The Ritz, directed by Julien Temple, and if you wanted to be an extra you could just go over and sign up and go in.

(The Ritz - which is now again called Webster Hall, as it had been for years before being The Ritz - was my favorite place to see bands in NYC, ever. It had actually closed down as a live music venue less than two weeks before this video shoot, and I was mourning it already.)

I went up to my room to change, wondering "How should I dress to be in a David Bowie video directed by Julien Temple? What would THEY want me to wear?"

So I put on my Catholic Priest gear.

I had the outfit originally for my Junior-year NYU film, "How Did You Manage To Steal a Car from a Rolling Train?", but it became my punk-concert-wear for years after that (got me a thumbs-up from Johnny Rotten at the Sex Pistols reunion concert). Always neat to see how unnerved burly mohawked punkers get when a dorky-looking guy is standing next to them, bopping, dressed as a priest.

People seem to assume you HAVE to be a priest to get one of these real priest shirts or something. You just go to a clerical supply store and get 'em.

So, priestified, I went to The Ritz, signed up and went upstairs. There was a giant crowd at the front of the stage, and it seemed like there was no chance of me getting anywhere to see anything interesting, so I wandered around the back and looked at the cranes and equipment, like a good little film student.

Then, there was a call over the PA system . . .

"THERE IS A PRIEST AT THE REAR OF THE THEATRE. COULD WE PLEASE MOVE THE PRIEST TO THE FRONT OF THE CROWD!"

I looked around, a bit stunned, and not sure I heard right, but the announcement was repeated, and the crowd turned to look at me, and parted as I walked forward, giving me a round of applause. I got to the front and looked to the AD on stage who had been making the announcements. He looked to the balcony and called over the mic, "Julien, where do you want him?"

Julien Temple looked down at me and said, "Father, could you please stand on the platform behind you?" And the hands of the people on the platform came down and gently lifted me up and onto it. Where we stood for some time as they kept setting up. I chatted up the two pretty girls on either side of me (as usual, with no success).

Eventually, Bowie and the band came out, said hello, it was explained that they would be playing the track and shooting at double speed so when it was played it would be in slow-motion but synced up with the music, and so we should move frenetically. I decided to not do this and slowly bless Bowie with the sign of the cross while he "sang," as I was directly across from him on a platform about ten feet away.

So they did several takes of it and that's what I did. The song was unreleased and at double speed so there was no way of telling what it was. Turns out it was "Prisoner of Love," and the back of my head and my raised left hand are best visible at 1:02-1:04 into it, just right and below of center. And that's my big BIG appearance (I seem to show up elsewhere in the video, but that's the longest, best glimpse of the back of my head).

They also shot inserts for what I know now was a different song, with the band gone, just pointed at the audience. Those were for "Under the God," and I don't seem to be in there. Still I've only looked them over once, quickly, so for all I know I missed an appearance somewhere. I'll check 'em again later.

And that's a second story from an NYC that doesn't exist anymore. God, weird shit was happening to me all the time here in the late 80s . . .

collisionwork: (Big Gun)
As mentioned last entry, a few things have come up in memory because of external news or discoveries.

One of them is something that has been coming to mind here and there for months, as I realized the 20th anniversary was going to happen, which it did, just yesterday. Well, today, really. This is long, sorry, but I'm not putting it behind a cut.

There was a riot in Tompkins Square Park, August 6-7, 1988. You can read about it HERE, in what seems to me a mostly accurate recounting of the event, and the reasons behind it, which I no longer have enough interest in to deal with below (the bastards won). If you were in the middle of it for any length of time, you probably have a bias towards one side or the other, so an "accurate recounting" may really be impossible. I was there and was beaten by crazed riot police with nightsticks for no good reason, so you'd think I have a pretty serious bias, but that's actually not true. I was (and am still) pissed off at both sides for various reasons, but whatever, it was 20 years ago and no one cares anymore, really. But I might as well set down my story of what happened to me that night, for the record.

I had been sitting around my NYU dorm room on 10th Street near Broadway - I was 20 and attending Summer session - when my friend Vanessa Veselka called me up and told me there was going to be a peaceful protest against the curfew in the park and that I should come and bring my camera to document in case things went bad.

Vanessa was (and is) and activist, organizer, and musician who I was close to for many years, and am happy to still be in occasional touch with. I got to see her last year (with her adorable daughter) when she was visiting NYC after only the occasional email between us for years. We've known each other since she was 14 and I was 15 in school in Massachusetts, and have been through a lot together (though no, we were never involved, which that might imply, though it turns out we were very interested in each other at different times in our friendship, but always when the other was seeing someone - when we realized this years after there was any chance of anything happening we pleasantly cursed our stupidity), so she'll always be very special to me. She's been in Seattle and Portland for years making good music of one kind or another, first three fine albums with her rock band, Bell, then one (which I have mixed feelings about) with a power-acoustic-punk duo, The Pinkos, and most recently a terrific CD of traditional folk in a Carter Family-style with two other women as The Red Rose Girls.

At that point in the late 80s she was my connection to a world outside of NYU Film School, to music and performance and people over at The Pyramid and ABC No Rio and so on - and the fast folk scene then around the whole Village, a scene still carried on by Lach with his Antifolk hoots at Sidewalk Cafe, which I think started at The Speakeasy on MacDougal (long gone and a restaurant now) - I spent plenty of time in the audience there and wound up on stage a few times myself.

So when Vanessa called, it would be worth it and I would go. So I grabbed my 35mm camera and walked eastward, stopping briefly on the stairs of St. Marks Comics (which was upstairs then) to load the camera and check it.

So somewhere, yes, there is a roll of film with shots from that night on it, or more precisely a clear plastic sleeve with the negatives in it and a contact sheet of that sleeve. Some of the photos look really good. I never printed any of them. Make of that what you will. I was hoping to drag them out of storage and finally get them digitized and put them up with this post (which I've been thinking about for months) but it didn't happen. So no visual aids here.

I got to the park and found Vanessa (how? no cel phones then . . . did we agree on a place?), and we went into the park and walked and hung and so forth. It was pretty boring until it wasn't, suddenly. I was a little unnerved hearing some of the talk around me - and here's a reason I'm not so happy with the protesters in the long run . . . I heard more than one conversation that specifically stated (not phrased this way of course), "We're going to provoke the police into violence so that we get beat up and it looks bad for them in the news." More than once, yes. This cut-off-your-nose-to-spite-your-face way of thinking went exactly as planned of course, and after quite some time of having rocks, bricks, and fireworks thrown at them (I was near a mounted cop when a thrown cherry bomb went off next to the horse's head - being close to a suddenly terrified rearing and whinnying horse is not pleasant) - the cops went apeshit.

Now yes, as intended by some, they were provoked, however on the other hand, they went COMPLETELY over-the-top crazy-ass batshit loco. This was in no way about "stopping the protesters who are escalating to violence" but "hit anything living that moves and isn't a cop as hard as you fucking can with big pieces of wood."

I had been separated from Vanessa (why?) and wound up near a white van on Avenue A, near 7th Street, I think. I see that van in all the footage from that night. I saw someone with a video camera on top of it, and for years I've thought that was Clayton Patterson, but in seeing recent recaps of the night it appears it was a different videographer, and Clayton, who I got to know a bit, years later, was elsewhere. I wound up on Avenue A just below 9th Street when the line of cops that stood across from 9th in front of the park suddenly started screaming and rushing at protesters. swinging. I ducked back and forth behind a bus shelter and in doorways as cops and beatees rushed past me. Somewhere in there, Vanessa found me (we had been separated) grabbed me by the shoulder (obviously deciding I was out of my depth, perhaps correctly) and rushed me down 9th Street to a bar that had barricaded itself in. She said something to the doorman who peeked out a little slit in the door (what, I don't know, Vanessa could do these kinds of things) and whatever it was made him open up and pull me in while she ran back to join the melee.

So there I stood in the bar. I don't know for how long. I had a pint of beer - did I pay for it or was it given to me for having been out there and getting in? It was amber, not a stout, which would be unusual for me, but maybe that's all they had. Music played - it must have been someone's Rolling Stones mix tape. I swear to god the two songs I remember playing, which have always since been colored by the violence of that night for me, were "Gimme Shelter" and "Memo from Turner" (okay, "Honky Tonk Woman" also played, but that doesn't exactly conjure up dark, violent memories).

I have no idea how long I was there. Long enough to finish my beer, not be able to get another, and be very very bored, except when hearing sudden bits of horror come through the door or boarded up windows.

I have no idea where exactly this bar was, or what it was. Whenever I've walked down this block in the years since, I've tried to find it, but have come up blank. What WAS that place?

Vanessa came back, took me outside to 9th Street and started walking me west, telling me about some of what she'd been through - she hadn't been hit, but chased a lot, including through an apartment building where an old Russian lady hid her and several others from the cops that chased them. She checked to make sure I was okay, sent me off on my way, and went back toward the park, where you could still hear the riot going on. I walked west, where it seemed everything was calm and okay. The fighting was confined to Avenue A and east. It seemed.

At the corner of 9th and 1st Avenue I stopped to take a picture of a helicopter that hovered over the intersection, its skids as low as the building tops. Click. Somewhere I have that, a perfect shot of the copter and the street sign at the southeast corner. I crossed to the southwest corner and looked around. Lots of confused people, wondering what was going on, maybe just in the area for a drink. I turned and looked up the Avenue - a marching group of cops in riot gear was coming south. They stopped in the street near the northeast corner. I snapped a picture of them. Click. Somewhere I have that, a perfect shot of a big group of riot cops standing in front of what I now know to be PS122.

I turned back around. I was standing next to what looked like a yuppie couple from uptown, who were trying to figure out what was going on. Someone who looked more like one of the East Village protesters walked by, shouting over and over again, "This is NOT Germany 1933! This is NOT Germany 1933!"

(the "NYC 1988=Germany 1933" statement had been yelled often that night, and was a common statement in the graffitos you'd see everywhere then by anarchist Peter Missing, who had a band called Missing Foundation, and who wrote this slogan - along with an upside-down martini-glass symbol and the words "The Party's Over" - all over the Village)

The man's tone of voice, and seeming unlikely yelling of a contradiction to the protest yells, struck me funny and I had to laugh, as did the yuppie couple, who then went into a routine that was obviously a private joke with them, but which I got, as it referenced a Monty Python sketch: "This is NOT Germany 1933. The fish is in YOUR trousers, it's YOUR laugh! This is NOT Germany 1933! The pie is in YOUR face, it's YOUR laugh!"

They did that a couple of times, and laughed, and I laughed with them. Then there was a sound - I don't remember what, except it was BAD and my stomach dropped, and we all turned around to see the cops that had been lined up in front of PS122 rushing at us, screaming, with nightsticks raised.

I started to run down 9th Street, but then thought that running would seem some kind of admission of guilt or something and why would they hit me if I just stood there, right? So I stopped and tried to look "innocent."

Three cops smashed into me, knocking me back into the pulled-down gate over the fabric store on the corner (it's a pizza place now, I've had a slice there, and reminisced). I raised my right arm to protect myself, and the clubs began hitting me on that arm and my right thigh, and occasionally my head when my arm wasn't in the right place. I cupped my camera in my left hand, protecting it.

I have no idea how long it lasted, except that they kept hitting the same places over and over, and I was knocked back into the gate several times. It can't have lasted ANYWHERE near as long as it felt it did (or I'd be dead), but it lasted long enough for me to consciously think "okay, they've been doing this a while, they're going to get tired of this any minute now and move on" several times, and then realize they weren't going to stop. There was the slightest moment of feeling that, in fact, this was never going to end and I was stuck in some kind of loop of torture, where sticks were just going to keep raining mechanically down on me for all eternity.

What came to mind then, and what I did, was to yell in the best English accent I could muster (which was not good), "I'm a TOURIST! I'm a FUCKING TOURIST, you BASTARDS!" I did this, and there was a slight backing off, like it had confused them enough to ease up long enough for me to start running west again, still yelling that I was a tourist. One of the cops who had been beating me called after me, "You picked the wrong night to come to town, buddy!"

As I ran up the sidewalk on 9th, I was briefly paced by a cop with raised stick running on the other side of the parked cars, trying to find an opening to get to me, but I did the tourist yell again, and he slowed up and started back eastward.

For twenty years I have wondered about that poor sweet couple doing their Monty Python-based routine next to me. The cops went for them, too, I know. They had to have been beaten. At least I knew there was a riot happening - I don't think they had any idea. What happened to those two? Are they okay? Are they together, still? Who were they?

And I went on, west, back to my dorm. I have a weird memory of running into someone along the way, neither a cop nor protester, who wanted to know what was happening, and filling him in. Oddly, I think I did it in my "English" accent and persona, continuing to complain that I was just a fucking tourist pulled into this by accident. I have no idea why.

Got back to the dorm, set up my video8 camera on a tripod, put a tape in, started recording, and delivered a monologue to it about what had happened that night (with the sounds of sirens and helicopters in the background). I have that tape in a box somewhere, but no ability to play video8 tapes anymore. So no visual aids there. My roommate, a sweet, great guy I knew for just that one term whose name I've completely forgot, came in while I was recording and sat down off camera, posing questions to me, and both trying to help me personally and (smartly, as he knew I'd want) trying to make it interesting for the camera.

Eventually, somehow, sleep happened, and when I woke up everything seemed clearer. The air, I mean. Lines were sharp and my vision was better. My roommate - who I want to call "Mike" for some reason - Mike put on Bowie's Hunky Dory album (still a vinyl LP then), which we'd already decided was the best weekend-morning wakeup album ever created (so it must have been a weekend), and suggested I get cleaned up and we go have brunch somewhere nice. So I did, examining my growing bruises for the first time (and both of us sharing a look and chuckle as Bowie sang about the "lawman, beating up the wrong guy").

The underside of my right forearm and a giant oval on the top of my right thigh were an deep purple. Over the next few weeks, they would go through an amazing series of colors of the spectrum on their way back to fleshtone.

And that was 20 years ago now. So I put it down. Someday, I'll get those pictures and video out and look at them again. Maybe for the 25th anniversary.

I don't know what it did for me in the long run. Make me less trustful of cops? Well, I wasn't exactly a believer in them to begin with, and I've known good cops, too, personally (a couple of years later, I got to know and hang with a Homicide detective out of the 6th Precinct, who was actually surprised that I could trust a cop again after that night, and had stronger negative feelings than I about how the cops acted that night).

Also, I wonder about my leg. For a few years, I've had a strange nerve problem in my leg - the skin itself is numb most of the time in a very specific area, and sometimes it gets strange cold sensations or pins and needles (sometimes very painful). I just thought it was some kind of pinched nerve thing or whatever - probably related to my poor posture and back problems, which I get sometimes (I haven't had any feeling down part of my right arm and into my pinky for weeks now after sitting badly at the computer one day) for a time, but which usually goes away. The leg has had this full-time for many years now.

It was Berit who noticed that the numb area corresponds almost exactly to where my bruise was from the beating (I always demonstrate the oval shape of both the same way, but hadn't caught it myself). I wouldn't have thought that a beating would have caused this, especially years later, but soon after noticing this I read, by chance, of an instance where percussive injury had caused the same kind of numbness. So this might be a little permanent reminder of that night. I dunno.

In any case, that's what happened to me 20 years ago.

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