'In performance art, usually one or more people perform in front of an audience. Performance artists often challenge the audience to think in new and unconventional ways about theater and performing, break conventions of traditional performing arts, and break down conventional ideas about "what art is," a preoccupation of modernist experimental theater and of postmodernism. Thus, even though in most cases the performance is in front of an audience, in some cases, notably in the later works of Allan Kaprow, the audience members become the performers. The performance may be scripted, unscripted, or improvisational. It may incorporate music, dance, song, or complete silence. Art-world performance has often been an intimate set of gestures or actions, lasting from a few minutes to many hours, and may rely on props or avoid them completely. Performance may occur in transient spaces or in galleries, room, theaters or auditoriums.
'Despite the fact that many performances are held within the circle of a small art-world group, RoseLee Goldberg notes, in Performance Art: From Futurism to the Present that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stemmed from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise.”' -- John Stockwell, NYT
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Selected venues
The Kitchen
Performance Space 122
Franklin Furnace
Dixon Place
Danspace
Dance Theater Workshop
The Performing Garage
La MaMa Experimental Theatre
8BC
The Pyramid
Club 57
King Tut's Wah-Wah Hut
Chandalier
Darinka
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10 DPAs who became very famous
Steve Buscemi
Whoopie Goldberg
Willem Dafoe
Blue Man Group
Jill Clayburgh
Spaulding Gray
They Might Be Giants
Laurie Anderson
Eric Bogosian
Frances McDormand
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Further reading
* C. Carr On Edge: Performance at the End of the Twentieth Century (Wesleyan, 1993)
* Roselee Goldberg Performance: Live Art Since 1960 (Harry N. Abrams, 1998)
* Brandon Stosuy Up Is Up, But So Is Down: New York's Downtown Literary Scene, 1974-1992 (NYU Press, 2006)
* Marvin Taylor The Downtown Book: The New York Art Scene 1974-1984 (Princeton University Press, 2005)
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15
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Dancenoise
'The Dancenoise performance art duo of Anne Iobst and Lucy Sexton pull viewers into a world of nightmare dreams and hilarious apocalyptic visions through which the two women travel with friendly, deadpan objectivity. A good deal of the fun lies in the agonizingly slow vaudevillian buildups to fleeting jokes and barbs. The topics include women's reproductive rights and the Persian Gulf war. The jokes are surprisingly fresh and devastating, and the gentler moments of affection as touching. A good deal of Dancenoise's impact comes from the scrappily imaginative, sometimes beautiful set elements they work with.' -- Jennifer Dunning, NYT, 1991
from 'Open Season'
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John Kelly
'John Kelly is a performance and visual artist has created over 30 performance works which have been performed at many performance and alternative venues, including The Tate Modern, The Kitchen, PS 1, The Warhol Museum, the Whitney Biennial, Dance Theater Workshop, The Sundance Theatre Lab, The Drawing Center, LaMaMa ETC, Creative Time, Performance Space 122, and the Brooklyn Academy of Music’s Next Wave Festival. His performance works have consistently focused on the character of creative genius, and have ranged from the autobiographical to historic figures such as the Viennese Expressionist artist Egon Schiele, Caravaggio, Antonin Artaud, Joni Mitchell, and Jean Cocteau, as well as cultural phenomenon such as the Berlin Wall, the Troubadours, the AIDS epidemic, and Expressionistic Film.' -- John Kelly Website
from 'Pass the Blutwurst, Bitte'
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David Leslie
'I have been creating public spectacle as an artist / daredevil in the cultural arena of performance art in NYC art houses and club venues since the mid eighties. My addiction for art and adrenaline drove me to my first stunt in SOHO, when I attempted to fly a small single seat rocket over a mountain over watermelons. That night I almost broke my neck and was nearly burned alive in the flaming wreckage. I loved it. Throughout the mid to late eighties I offered up many outrageous acts and actions mostly in admiration, imitation and respect for of the men and women who inspired me. My over the top outrageous acts were in simpatico with a temperament that was pervasive in the East Village at that time. My over the top outrageous act were a in simpatico with a temperament that was pervasive then in that East Village. My fans and followers of my work named me "The Impact Addict". I was given that name after doing a show that I had titled "impact addict". In that show I jumped off a 3 story building onto a sheet of steel while wrapped in bubble wrap and christmas lights .. and the name stuck.' -- David Leslie
from 'Box Opera', a documentary about David Leslie
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Yoshiko Chuma
'The School of Hard Knocks, more fully titled "Yoshiko Chuma & The School of Hard Knocks," was founded in 1982 and is located in New York. Described in 2007 by Bloomberg as "a fixture on New York's downtown scene for over a quarter- century", her work spans from early "absurdist gaiety" to more recent serious reflection, which nevertheless represents the "maverick imagination and crazy-quilt multimedia work" for which the artist is known. Dance commentators have found her work difficult to classify; in a 2006 profile, Dance Magazine speculated that "One might call her a postmodern choreographer, a movement designer, or a visual artist whose primary medium is human beings--dancers, musicians, pedestrians".' -- Wikipedia
from 'A-C-E One'
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John Sex
'After early work as a gay stripper, John Sex became an alternative performance artist, creating a character based on an exaggerated, cheesy Las Vegas lounge singer/MC. Sex developed a persona that simultaniously masked and amplified his polymorphous self, elaborating a mythinc yet parodic rock-star figure of mercurial presence". His "Acts of Live Art" series brought performance art into the club context. He was able to further refine the combination of performance art, drag act, gay go-go dancer, cabaret singer, lounge MC, etc. as a performance art dancer who performed at such legendary New York clubs as Club 57, the Pyramid Club, Danceteria, The Palladium, Paradise Garage and Andy Warhol's Underground. Mr. Sex's trademark was his long, blond hair which stood straight up, and which he claimed was kept erect by a combination of Dippity-do, Aqua Net, egg whites, beer, and semen. He also dressed in flamboyant costumes. He owned a python named Delilah that was often included in his cabaret act, and was a friend of artist Andy Warhol. Sometimes he would leave the python on stage and come down into the audience and wrestle with patrons of the club. He died from AIDS-related complications.' -- Steven Hager
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Robert Whitman
'Robert Whitman is best known for his seminal theater pieces combining visual and sound images, actors, film, slides, and evocative props in environments of his own making. Since the late 1960s he has worked with new technologies, and his most recent work incorporates cellphones. He has collaborated with engineers on installations and works that incorporate new technology: laser sculptures, including Solid Red Line, in which a red line draws itself around the walls of a room and then erases itself. In 2003, Dia Art Foundation, New York presented, Playback, a large-scale retrospective exhibition of Whitman’s works. The exhibition traveled to Porto, Portugal, and opened at the Museum of Contemporary Art in Barcelona in September 2005. A major book, Playback, a comprehensive study of his work, accompanies this exhibition.' -- The Pace Gallery
from 'Inside Out'
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Tom Murrin
'Tom Murrin began performing under the name "Tom Trash" in the late 70s, doing street shows, but also getting gigs in rock clubs, opening for the bands. The punk scene was just starting at that time in New York, and his brand of theater was considered "punk". In 1979, he changed his name to The Alien Comic. During the early '80's, Murrin also did shows at the off-off Broadway theaters, like La Mama and Theater for the New City, and opened for many bands, including X, Pere Ubu, the Stranglers, and James Brown. In the early '80's Murrin met a group of women dancers who had recently graduated from Ohio University, in Athens, Ohio, who were then living in Manhattan. They were Jo Andres, Mimi Goese, Lucy Sexton and Annie Iobst, and they were interested in performing. Murrin taught Sexton and Iobst what he had learned along the way, and the two women became DANCENOISE. The five became The Full Moon Crew, and with the production help of Bill Schaffner, they put on many Full Moon Shows at P.S. 122. In May, 2008, Murrin was honored by P.S. 122, along with his friend, producer/stage technician Lori E. Seid, at their annual Spring Gala and Benefit at Angel Orensanz Foundation.' -- Alien Comic Website
circa 1988, the Amazon Hotel
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Ann Magnuson
'In 1978, Ann Magnuson moved to New York City, New York and was a DJ and performer at Club 57 and the Mudd Club in Manhattan circa 1979 through the early 1980s, while pursuing a performance career on varied fronts. She created such characters as "Anoushka", a Soviet lounge singer, wearing a wig backwards and singing mock-Russian lyrics to pop music standards, and separately sang in an all-girl percussion group, Pulsallama, whose 1982 single "The Devil Lives In My Husband's Body" was a housewife's lament of a spouse who appears to be possessed. Later, in the 1990s, Magnuson fronted the satirical faux-heavy metal band Vulcan Death Grip. In the late '70s and early '80s, Magnuson ran Club 57, in New York City's East Village. The club was located in the basement of the Polish National church. It became a center of a world that included Keith Haring, Kenny Scharf, and many others from New York's budding graffiti and downtown scenes.' -- Art in America
from 'Made for TV'
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John Jesurun
'John Jesurun, a winner of the MacArthur "Genius" Fellowship in 1996, is widely acknowledged as one of the foremost innovators of avant-garde theater, creating virtuoso works that overlap media and language in surprising and unpredictable ways. His works play with various media forms, pop-cultural constructs and entertainment genres. The construction is as important as the text. It is converged by the influence of film, television and radio rather than by theatrical convention. Scenes begin and end abruptly, as if cut and spliced together. Camera effects are replicated: actors are frequently suspended on platforms in various configurations to suggest overhead shots, long shots, and shots from below. Stagings have included helicopter rescues, sailboat races, a floating saxophone, car crashes and chases.' -- MacArthur Foundation
from 'Everything that Rises Must Converge'
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Karen Finley
'Karen Finley is an innovative and controversial New York based performance artist/literary figure/visual artist. She has created countless installations, drawings, performances, and public sculptures all over the world. Many of her works deal with the issues of violence against women, emotional despair, a sense of loss, and abuse. During her performances she often goes into a trancelike voice and verbally juggles different characters and voices. At the end of her shows, she often takes off her clothes and smears herself with chocolate or other substances. Finely gained much notoriety for her show,”We Keep Our Victims Ready." “The show made her run afoul of Senator Jessie Helms who used her performances as a focal point for a movement to eliminate the NEA. When her NEA grant application was rejected for inappropriate content she challenged the ruling. She took the case all the way to the Supreme Court along with fellow artists, Holly Hughes, John Fleck, and Tim Miller. The artists lost the case.' -- Vittorio Carli, artinterviews
from 'Mondo New York'
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Ethyl Eichelberger
'Ethyl Eichelberger often performed solo works in free verse based on the lives of the grand dames of history, including Lucrezia Borgia, Jocasta, Medea, Lola Montez, Nefertiti, Clytemnestra, and Carlotta, Empress of Mexico. "I wanted to play the great roles but who would cast me as Medea?", he mused late in life in Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century. His 1984 play Leer distilled Shakespears's King Lear into 3 characters, all played by Eichelberger. Such works are rarely revived, as they require a solo performer capable of accompanying himself on the accordion, eating fire, turning cartwheels, and doing splits and other acrobatic feats. He was diagnosed with AIDS and was unable to tolerate the available medications. Only after his suicide did it become widely known that he was ill.' -- Joe E. Jeffreys
from 'Minnie the Maid'
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Jeff Weiss
'Anyone who has visited Good Medicine & Company on East 10th Street over the last fifteen years knows something about theater that many people are just now discovering. Sometimes, before a show, there might be instant shopping expeditions to neighboring bodegas. Always there was red wine, fruit. Often you found yourself on stage, pinpointed, a part of the energy of the evening. All this at close quarters. In that small space audiences experienced a total immersion in their own darker consciousness through the vehicle of Jeff Weiss and Carlos Ricardo Martinez. Suddenly, total darkness, then a candle, a flashlight, or a bare light bulb and then—total theater.' -- Bill Rice, Bomb, 1984
brief interview
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The Wooster Group
'The Wooster Group evolved from a small group of people in 1975 who made the trilogy, THREE PLACES IN RHODE ISLAND, around the autobiographical impulses of Spalding Gray. That group included Gray, Elizabeth LeCompte, and Jim Clayburgh. Ron Vawter began performing with the company in RUMSTICK ROAD and Willem Dafoe joined during the making of NAYATT SCHOOL. Kate Valk began working with the Group during POINT JUDITH and Peyton Smith joined for ROUTE 1 & 9. The Group has sustained a full-time, ongoing ensemble since this beginning. The company is constantly evolving, and with its many artistic associates has created and performed nineteen pieces for theater, eight film/video pieces, and five dance pieces. The company members are at the center of the work. Elizabeth LeCompte has directed all of the pieces and members who have "moved on" periodically return to remount repertory pieces and make new work. ' -- Thewoostergroup.org
about 'LSD'
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Eiko & Koma
'Eiko Otake and Takashi Koma Otake, generally known as Eiko & Koma, are a Japanese performance duo. Since 1972, Eiko & Koma have worked as co-artistic directors, choreographers, and performers, creating a unique theater of movement out of stillness, shape, light, sound, and time. For most of their multi-disciplinary works, Eiko & Koma also create their own sets and costumes, and they are usually the sole performers in their work. Neither of them studied traditional Japanese dance or theater forms and prefer to choreograph and perform only their own works. They do not bill their work as Butoh though Eiko & Koma cite Kazuo Ohno (a Butoh pioneer) as their main inspiration.' -- Village Voice
'River'
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Joey Arias
'Born in Fayetteville, North Carolina, Joey Arias moved to New York City as a teenager and eventually got a job at the Fiorucci designer clothing store. While working at the store he became friends with alternative icon Klaus Nomi, singing backup and designing Nomi's sets and costumes. Arias gradually became involved in the burgeoning 1980s New York performance art scene, appearing regularly at Club 57 and other downtown venues. During these years he also began crafting a successful career in cabaret, based on his talent for channeling the vocal style and mannerisms of the legendary Billie Holiday. His most recent work was performing in Arias with a Twist, a collaboration with puppeteer Basil Twist, and before that as the Mistress of Seduction in the Las Vegas show Zumanity, an "adult-themed" Cirque du Soleil show running at the New York-New York Hotel & Casino.' -- Wikipedia
'A Hard Day's Night'
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p.s. Hey. Seeing as how I'm here in NYC reviving a performance piece I co-made back in the 80s, I thought I'd do a post about that period, that context, and some of the artists making performances in the same scene and around the same time. Hope it's interesting. ** David Ehrenstein, Sounds like a very cool soiree indeed. I love you urging Scott Rudin to download the Godard film. Yeah, big fun, very nice, and a great pleasure to read, thank you, sir. Have I never done a Nico Day? I guess not. Odd. Yeah, I'll get on that unless someone here wants to try their hand at it. ** Allesfliesst, Hey. Uh, I generally am okay with sleeping. I credit Melatonin for help with that. But if I'm even a little stressed, I'm fucked re: sleep. I have mental exercises I do in those cases -- mentally editing/ working on something I'm writing at the time seems to help lull me out, strangely, for instance. I hear you on the lackadaisical caretaker. The Recollets is great, but getting things fixed usually involves days or weeks of having to drop not so subtle hints. ** Frank Jaffe, Hi, Frank! Oh, 'All Ears', that old thing, ha ha. How was the drag show? Promising title, obviously. Wow, your 'Vault' tumblr blog is really pretty. I don't think I've ever seen it before for some reason. Kudos. Everyone, the honorable Frank Jaffe has posted his best films of 2010 on his blog/site, and that's working checking out, obviously, not to mention the fact that the blog itself is a bit of a glorious looking, beauty-oriented thing with some awfully nice animated gifs to boot. Visit. Awesome day to you, Frank. ** Alan, Oh, I don't know why the Bowie pick surprised me. I guess you don't talk so often about music on here, and so your particular interests in that field were kind of a blank, so maybe any choice you made would have been surprising. ** Sypha, Yeah, well, school will certainly impact your writing rhythm and habits. Sometimes it's good to have one's routine or self-expectations about writing disrupted. It can shake and alter the work itself, separate fascination from formula, and that's usually a plus, I guess. ** Disco 3-way, Hey, Eli! No, I didn't get your texts last time, I don't think. Yeah, should I write to you? I leave on Tuesday, but maybe tomorrow or Monday before or after the performance. Hm, I guess I'll email you when I finish here? I guess that's the only way to go? It'd be great to see you. ** Colin, Thanks about the post. Yeah, so far, I'm liking 'Hate', but I'm barely into it. I think the prose is kind of nice. I hadn't picked up on it being 'about' Guillaume Dustan. Wow, that's interesting. I knew him a little. He published one of my books in France. Man, was he a difficult, complicated guy. ** Pilgarlic, Yeah, impossible question, really. I guess I liked the 'first thought, best thought' aspect of it. Nice to see you mention John Prine. Seriously underrated fella, that guy. For me, I guess I think the most seriously underrated, overlooked singer/ songwriter of that era is David Ackles. His 'American Gothic' album is one of the total greats for me. ** Hayden Derk, Hey, Hayden! You good? Well, yeah, and poor Tom Cruise lookalike too. ** Trees, Hey, T. Have I already complimented you on the name of your record label? If not, take a bow. Nice Warhol palm trees too. Anyway, exciting imminence! Everyone, the multi-talented Trees has among his specialties a record label entitled Cold Dick Records, and you can/ should see the label's site and check out its upcoming release by Brotman & Short, watch a very convincing video of them, etc., by merely clicking this. Dude, excellent! ** Math, Hey. Yeah, got your email. I'll write you back to plan as soon as I finish this up. Great, so I'll see you this weekend with any luck. ** Patrick deWitt, Wow, that's trippy because in my novel, the narrator's father recounts a magic show by a revered French magician that he saw as a kid that changed his life for better and worse. This is getting very interesting. ** Alexp336, Hey. March 1st? Wow, that's soon. I love learning about that 3D background stuff re: Nintendo, so thank you! Oh, you're so not the only gay geek out there, that's for sure. Maybe one of the rare out and coupled gay geeks, ha ha. 'Guide' is a mix of events and people from my real life and things/ people that are totally fabricated. But, yeah, it's by far my most autobiographical novel. I always say that it's an accurate, true to life accounting of how my mind works, but the character 'Dennis' is only semi-me. Or something. ** _Black_Acrylic, Thanks about the post, Ben. And thanks so much for sending the post! Really kind of you, man. I'll look it over and get it scheduled and write back to you asap. It snowed yesterday, but it didn't stick. But I'm stressing out because they're semi-predicting a big snowstorm on the day I fly back to Paris, and I just can not get stuck here for an extra day or three, so huge gulp. ** Oliver, Hey. Oh, I don't think it's 'Paul is Dead' related. Its point was to point out that his sideburn was a fake, glued on sideburn, but I'm not sure the close-up was totally convincing. Oh, Jake Thackray, very good call. Yeah, great voice. Nice. Thanks, Oliver. ** Emptythesun, Hey, Joseph! Thanks for the fave singer picks. Nikki Sudden, wow, that's a good one. Hunh. Four weeks ... mm, I think it's pretty unlikely 'cos I'm deadlining on a theater piece text that's due. I'll give it a serious and dedicated shot and see if I can get inspired and whip something out. Whip meaning, in my case, eke out something with more than normal speed. I'll try. I'll try to let you know asap if I can. I think I probably can't, though, due to my slow writing habits and the competing theater piece obligation. Thanks a lot in any case. ** Laurabeth, Hey. Saw your email this morning. I'll write you back in a bit so we can nail down the time/place. It'll great to see you! ** Brendan, Thank you, pal. You've bought yourself a year at least of total artist time? Fucking 'A, that's awesome, B! ** Bill, Hey. Oh, hm, I don't know ... should I tell you what's in that spot on the Paris map? It's kind of a secret puzzle. Mm, I'll wait for now, and I'll tell you later on. (Don't get too excited, though; it's not all that fantastic, I'm afraid). I think you're probably flying by now, so welcome home, Billster. ** Jeff, Mm, well, I don't know you well enough to say whether you're racist or not, but, based on what you said, or at least how you said it, it seems like a possibility. 'Anyone want to take a wild guess as to the race of my attackers?': I'm sorry, man, but to me that kind of talk is hateful bullshit. Yeah, a house with an optical illusion door has been a lifelong dream of mine too. Or the whole house as optical illusion. Another reason to wish for billions of dollars. I like 'Beat Hotel' too, although I think it's by far the best thing Harold Norse wrote, in my opinion. I've never thought that his poetry was very good. Some of his memoir stuff is interesting even though he's kind of way into himself in them. ** L@rstonovich, Dropbox ... okay, I'll figure out what that is. I'm telling you, I am hopeless on tech stuff, as much I love tech stuff. But, yeah, I'll figure it out. Sounds like a perfecto arrangement. Thanks a lot about the post, man. I'm blushing. Happy to help. ** Steevee, That's funny, I was strolling briefly in Little Italy in the show that day too. Having not checked it out properly in twenty years or something, I'm actually amazed at how much of it is still there and is strangely the same. But I'd heard horror reports on its death by shrinkage, so I expected much worse damage, I guess. ** James, Hi, James. Happy belated birthday! 41, that's not bad. The 40s are terrific. The 30s and 40s are the best, and then, after that, well, it gets less, uh, best. So, enjoy the next nine years, ha ha. I'm almost for sure not going to be doing the LA reading, unfortunately. Severe money problems prevent my getting from Paris to LA at that time. But LC will be there, and that's plenty good reason to go. Gorgeous Kafka piece, man. Beautiful, strange, and very moving too. Thank you a lot for the share. And love to you. ** Andrew, If Kirk Cameron isn't excited, then I'm not going to worry. Phew. Thank you for the comfort food, man. ** Creative Massacre, Sorry about the spider, oops. Tarantulas are the problem for me. Yikes. Poor WWE. I actually caught the end of the SyFy WWE thing last night, Rey Mysterio vs. some new bad guy I didn't know. It wasn't so exciting, but I do always love watching Mr. Mysterio twirl around. Wow, that camera setting really works, doesn't it? It's interesting. Very detailed but kind of mysterious too. Yeah, nice. Everyone, Creative Massacre + camera = Tea: Earl Grey, Chamomile & India Spice. Feast. ** Inthemostpeculiarway, Hey, Itmpw. I love snow too, but when you're in a city where airports shut down when it snows and you need to get home and it's supposed to maybe blizzard on the day you're supposed to fly home, I get temporary snow hatred/ terror going on, ha ha. The goat's eyes ... hm, well, they're still there. I forget if the eyes are closed or not. I always kind of try to look away during that part of the show, even though I'm supposed to be watching it. I'll find out. No Chiller Channel, no. Yeah, I looked for that first thing. Nice ants/ dead bird story. It made my feet feel like they were being gently electrocuted in sympathy for a second. That sounds bad, but it felt ... interesting. 'Kiss Napoleon Goodbye', hm, I don't know that. You are such a wealth of things I don't know and want to know. It's exciting. I don't think I've read Christopher Moore. Hold on, let me google him for a second and make sure. No, I don't know his stuff at all. Everyone, do any of you know and have an opinion on the books of the author Christopher Moore? Our fine friend Itmpw is wondering. Thank you! My Friday: Well, it snowed for quite a while. Luckily, even though it was heavy snowfall, it didn't stick to the ground, so, when it stopped after about four hours, it just looked like it had rained. Normally, I think snow should always stick to the ground, but not at the moment considering my shoes. I walked around the area a bit, looked at NYC stuff, bought some food, ... In the mid-afternoon, I had a publishing meeting thing I had to do that I don't want to talk about in detail at the moment, but it was fine. Then I met up with Ishmael at a Vietnamese restaurant near here to talk about the possibility of reviving another one of our old pieces 'cos people are asking/ interested due to the big success of 'Them' and because it would be fun. The last piece we did together was called 'The Undead', and redoing that seems like a possibility because we both think it could be better and stronger than it was. Or we decided me might use parts of it and make a new piece. Anyway, first we need to get support for doing that, i.e. money and a residency gig so we can build/ rehearse it. We'll see. After that, Misanthrope and I met up, hung out, had Mexican food, blabbed, etc., all nice, of course, and then he headed off to meet up with friends, and I came back here to do some work and watch some TV. I think that was it. Today the performances start, and I'm a bit nervous, especially about today's show because it's the first one in the new, small space, and because there are a whole bunch of curators coming to see it, like I think I said, so we have to really nail the piece tonight, and that's, you know, nerve-wracking. Anyway, I'll tell you about it on Monday, and you please tell me all about your next two days then too, okay? Deal? ** Scunnard, Hey. Yeah, a collab between your place and mine would be awesome. Let's dwell on the idea and see if we can sort something out. Or a post that would be a kind of visit from your place would be cool too. Lots of possibilities. ** Memoirs of a Heroinhead, Hey, Shane! What a fantastic list. You could have continued it for years before my eyes stopped sparkling, man. I guess the New Year has treated me okay so far. Sorry about your boredom. Another online project sounds like Euros from heaven to me. Any ideas? Can I/here help in any way? Love to you, S. ** Chilly Jay Chill, Yeah, I so wish I could have seen the show. Sucks. It was a high-powered show, eh? I mean, a show with something on the line re: its future? Our show today is exactly the same. Scary. Let's hope we both get serious life extensions. I think you mentioned the La Monte Young. Someone did. Anyway, I'm glad you mentioned it again. Hm. Maybe I can go tonight. I'll try. Yeah, maybe I can. Awesome, I'll let you know if I do. No, I'm pretty sure it's always been a situation when the actual head of the publishing house makes the final decision on the books that get published. It's always been that way in my case, t least. And, for instance, with LHotB, I can't just go, I want to do this book, end of story. Each book has to be vetted and subject to discussion and a final decision from the Akashic higher ups. So, yeah, I think it's a pretty standard hierarchy in publishing. Thanks, Jeff! ** All right, enjoy the historical performance art and the rest of your weekend, and I'll see you back here on Monday, yep.
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