There's a lyric in one of the many brilliant songs by Rebecca Pearcy (check them out duh) where she says that one of the coolest things about waking up next to someone is being able to tell them about your dreams. That sounds nice. I'm curious about both
a) Remembering your dreams, which I never do but want very much to start doing, and
b) Noticing the sort of fringe-benefits of life. Like, okay, that's a benefit of waking up next to someone. I would hazard that one of my favorite things about performing is getting to spy on a big huge (or small, as the case may be) group of people. What if you could buy proximity? Would it be expensive?
This is the crowd that had gathered to watch this band perform at an opening a few months ago. I actually forgot all the relevant details but just found this photo. I love it. Everyone's so excited but the band is playing on a roof top.
Monday night Tommy and I went to go see the Ai Weiwei documentary "NEVER SORRY" which was suitable brilliant. Thinking lately about Pussy Riot and the nature of political artwork (what does that even mean)? Shocked, in a way, by the culture of apathy we're all part of here in the US. Making art about, essentially, our own comfort. How strange, demented. Maybe I'm just being pessimistic. I liked the documentary so much! I was suitably freaked out by it, of course.
Ai Weiwei with Godhead Rei Kawakubo. This photo is so fucking weird to me.
Mother Dosha Devastation on Saturday.
Yesterday I did have an exceedingly difficult day, and as I was leaving work I got wind of a free show that Miho Hatori was playing at the rooftop of the Standard Hotel. An early improv free show. How great. I hustled home to run some quick errands and change clothes, and then hot-footed it back to the city.
Walking through the East Village, I saw a sort of not-too-fancily-dressed lady walking ahead of me drop a $5 bill. I grabbed it and ran up to her to hand it back to her. Without even thinking. She was effusive in thanking me, but I sort of nodded and walked away. I got so mad at myself, a second later, for not keeping the money. I though I was such a fool. But then I let it go, figuring that this leaves the Universe open to giving me an even better surprise gift.
So I got to the Hotel, and I accidentally rode the elevator up with Ms. Hatori. The view from the rooftop was amazing. I had never been there before. I indulged in an extremely expensive cocktail. Eventually, at dusk, the show began. She performed seated, with two drummers and a bassist, a myriad of loops, sound effects, and bits and pieces.
It was amazing. It really was. It was also deeply inspiring. I almost never think to improvise musical pieces, but I guess a lot of what B0DYH1GH does comes from me and Perfect Little Daniel improvising, and then refining what we improvise. Many of our songs begin as improv, jams, I guess. It's so rad when you let your unconscious take over. You never know what you're going to find, but it's always sort of uncannily familiar, because it's yours. It's you. It's just you while you were asleep.
This is another part of why I want to start remembering my dreams. I'm scared of them though. But being scared is a silly reason not to do something.
Anyway, Miho's set was amazing! Clearly the ensemble had worked well together before. They seemed to be very comfortably moving from one type of music to another, bouncing between different rhythms, sounds, etc. The dual-drummer thing was so cool as well. I was just thinking about SWANS, their brilliant new album, and how they had two drummers (they might still have two?). I like the idea of interlocking grooves.
I saw Cibo Matto perform once when I was in high school and it was so amazing. Imperial Teen opened. I had never seen Miho perform elsewhere, until last summer when I went to go see Cibo Matto perform at the Bowery Ballroom-- and that show was amazing. But seeing her perform totally original, brand new (right-this-second) material, was so cool. She's such an underrated vocalist, and seeing her perform in this beautiful setting, against the sunset and twinkling lights of the NYC skyline, for a pretty small crowd, for free, made me so glad I live in this city.
Okay, but outside, after the show, on the roof deck. I was playing with my phone (I just got Instagram) and I saw a sort of rude-looking older guy talking on the phone about hotels, asking if the rooms had singles or doubles. He dropped a bill from his pocket and kind of walked away, on the phone. I was staring at the bill on the ground. Was this my chance to make some free money? Or another opportunity to build my karmic score?
Neither. The bill dropped, and I spent about twenty seconds eyeing it, before a guy with a nearby group of people jumped over and picked it up. He may well have seen the guy drop it, and seen that the guy was only a few feet away, still on the phone, oblivious. The guy who picked up the money, though, definitely saw me. He saw that I was clocking him, and he looked away, telling the people he was with "I just found a hundred dollars". So, okay. Not for me. Something bigger or better will come along. I feel like a bit of a fool. But as they say: easy come, easy go. It wasn't my money. I want my money.
I came home, made a huge salad and listened to Maria Callas arias and felt pretty okay if not amazing about everything.
This is what I would buy if I had kept that $100. I want this bag a lot. So much.
Oh look, the new music video by Stereo Total, directed by the adorable space alien / boy genius NOISY PIG:
I think that the party that Bernardo aka Noisy Pig used to throw in Berlin, POOPSY CLUB, was maybe the best party I've ever been to. But I only went once. But I had such a good time!
The good old days direct the music videos for the bright futures. This is so cool. I'm in a good mood.
My knee still feels weird, but I am going to try to go to the gym again soon and be gentle. Everybody wish my body luck.