his is one of the many enchantments of his book: You never quite know what the author is going to give you next. Sure, there are plenty of authors which offer you the unexpected, but rarely do you come across a piece of literature which moves so freely in and out of genres, be it criticism and literary history or autobiography and diary entries.
Some people say air is important, but in fact it's how you breathe that indicates whether you should be allowed to continue breathing or not. Master yogis know it, zen life coaches also somewhat know it. Your relationship with air is important insofar that you're inhaling it well and, in fact, ideally better than everyone else around you, whether you are in the northernmost parts of the Canadian countryside or in downtown Beijing on a hot day.
Once in a while, I would get a stray phone call from such unlikely places as Calvin Klein or Richard Avedon’s studio, asking me to come see their boss for some kind of go-see. I would invariably ask, “Does this have anything to do with Glenn O’Brien?” It always did. He was generous and inclusive in that way.
What can be said about a room like this—and there are thousands of them here—except that it is designed for one or more persons to live essentially as one would in a house, albeit in a room of roughly two hundred square feet, a room meant (unlike most hotel rooms) to imitate all the functions of home, a room so anonymous, so clearly in poor or missing taste, as to be any room, every room, and no room all at once.
We didn’t always refer to our work as “video game puppetry.” We used to call it “live machinima theater.” Our work has much in common with traditional puppetry. Video game characters, like puppets, have limited actions, and performers speak lines for both. The ultimate goal is the same too–to convey the story to the audience
I believe in Making.
Although “powerful comedian” may be an oxymoron, if what you’re looking to do is throw a frame around questions of agency, the individual relation to power, the ability to impact environment and control experience, then comedy is a good way -- maybe even the best way -- to achieve that end.
My fat arm got stuck in a park bench in the supermarket. The park bench was, of course, not in a park, so maybe it couldn't really be called a park bench. But it was the same kind of bench that one would find in a park. Say you're walking around the cement walk track to get some of that exercise that you feel you should be getting because you eat too much ice cream and too many hot dogs and you drive everywhere in your air-conditioned car. You see this bench and decide to sit down on it. That kind of park bench is the same kind that was in this supermarket.
We are here as outsiders. Life is an investigation.
I wanted bubbles to cover me./ But they stick to themselves and won’t.
I am new to the mug cake/brownie racket and to be frank uncertain I am wholly on board. Staring into the depths of my Dr. Oestker’s Chocolate Individual Mug Cake Mix it smelled and looked good, sure, but I couldn’t quite figure out just…what a cake was doing there in my mug.
Clear the path and travel is smooth.
Big, evolutionary, disruptive ideas need time to develop. In the past an underground would simmer away for years before surfacing. Who among us is willing to wait years before we pitch our stuff onto the Net? Traditionally the underground gained potency cloaked in invisibility. Today everyone wants attention, right now. In the age of social media, invisibility is perceived to have negative value only.
A lot of this new work has been made or conceived by the idea of escape...This past June I found a great spot in Costa Rica. I Airbnb'd a little spot 100 meters off the coast and made my little beach shanty Studio. For the next 30 days I was drawing everyday at the beach 8-12 hours with a few dips in the ocean.
The idea of being a reporter seemed absurd, and leaving the cozy little room with the Haddlesomes not particularly unappealing. I was about to say so when Mr. Mochrai spoke again. “Just don’t come blatting to me, when you cock-up,” he said and then shuddered. “And I’m not going to hold your hand, for every story about rosebuds and feminine protection and breast feeding or what have you, so I’ll thank you for not asking.”
All the essays in this column (including the one you’re reading now) began, in my mind, as “book reviews.” Eventually, I came to think of them as “book-inspired essays.” In moments of honesty, though, I’ve called them “personal essays disguised as book reviews.” I view myself as a husband and father, a physician, and a writer, in that order; therefore, not surprisingly, these essays almost exclusively focus on my marriage, my children, my doctoring, and my struggles with the written word. I mean these essays as the highest compliment to the writers whose books inspired each piece. Again, borrowing from David Shields in defense of his own self-obsessed book reviews: “There’s always an implied love story between me and the writer – me loving the book, loving the writer.”
Do a deep conditioning keratin hair mask! Highlight your hair! Now lowlight your hair! No, don’t do that. Stop.
This 2016 re-edit comes from the following contributors (line by line): Michael M. Naydan, Chris Dorland, Nancy Kangas, Daniel Nester, Shane Kowalski, Nancy Kangas, Walter Robinson, Andrew Singer, Bogdan Suceavă, Matvei Yankelevich, Andrew Miller, Andrew Bomback, James Capozzi, Francis Waite, Erik Kennedy, Scott Navicky, Brianna Barnes, Andrew Bomback, Marcus Slease, Shane Kowalski, Morgan Leichter-Saxby, Jerry Saltz, Gilmore Tamny, Hobo Scumbag, Aaron Belz, Josh Lefkowitz, Nancy Kangas, Gilmore Tamny, Kevin Sampsell, Amy Fusselman, Sommer Browning, Brian Finke, Devin Kelly, Jerry Saltz, and Nate Logan. Thank you to all the contributors this year!!
Before that, my comedy had become increasingly feminist (I’ve been performing stand-up for about 7 years) – and I was beginning to try and see if I could center women and my POV as distinctly female by joking publicly about the types of things women laugh about when men aren’t around (Kill All Men, etc.). I found it very therapeutic. And also got to throw some of the sexist rhetoric we’re just supposed to swallow back in the faces of the men who told me I “didn’t have a sense of humor” just because I thought they were assholes.
I asked Scalise this question (over email) after finishing his book. He’d never heard the term “patient role” but championed the performance aspects of illness encounters. “Medical interactions are theater,” he wrote back. “They are, in so many cases, very rehearsed on the doctor’s side, but also on the patient’s side, too. The ‘medical crisis template’ is so widespread in popular culture as a genre, and has been for so long, that its influence on real life patient-hood is pretty deeply ingrained. In that sense, slipping into that ‘role’ of ‘Medical Patient’ can feel almost reflexive. The transfer of control to the hospital staff, the ‘strong face’ one is expected to put on, the opinions about the food, the long-form small talk with your patient ‘roommate’ – it can feel stagey or rote in the way that being a commercial airline passenger can, which is unsettling, because you’re typically at a hospital for a very vulnerable, intimate, and (to you) unique reason.” He followed up on that answer: “My instinct as a patient has always been to destabilize role expectations between my doctors and me – sometimes in good ways, sometimes in ways that definitely did not work at all – if only to try and get us to something a little more human.”
Matt Mullican’s two-part performance at The Kitchen this past Friday and Saturday, “That Person and That World,” was a powerhouse production in two major respects: its presentation of an alternate consciousness, i.e., the “he” who inhabits Mullican after hypnosis; and Mullican’s post-performance acknowledgment of how little this alternate consciousness is welcomed in the art (let alone “real”) world.
Fantasy. Dressing up. Toys. Sometimes, talking about play can sound a lot like talking about sex. Or rather, our adult vocabulary for sex is suffused by the language of childhood pleasures. People who have a lot of sex might be called players, while those who want more sex read "The Game."
There was so. much. crying.
I believe in unity; racism, sexism, religious differences, etc etc, those are all things used to divide us but if you take a step back and see that none of it is real, we're all just humans trying to survive, you'll start to feel this unity... I want people to know that we'll always be here for them, fighting for them and loving them and writing songs that they can scream with their friends to and if you ever come to our shows, we are your friends and so is that random person next to you.
But back to the mother’s astute observation: somewhere along the way we seem to have decided that to be a poet is to be a Poet, as in some sort of seer or like a wise prophet, someone who lives among us but is able to Feel Bigger or Live Better, and so I suppose in this case, at The Pulitzer Centennial Poetry Celebration, held on Thursday, October 27th, 2016, at Cooper Union in downtown Manhattan, a parade of eleven of the finest and best Livers and Feelers, if you believe all that, were being presented on a public stage before an audience, to be lauded and adored.
The truth is that I didn’t know what a damsel in distress looked like. I had to go out and find one. This is how committed I am to my fashion blog fans. I went to the park. I went to the grocery store. When two cars crashed at the intersection, I hurried over. But it was only a fender bender, and the women shook hands in the insurance exchange.
Someday I’ll purchase an interesting and cheap portion of land and probably live on it alone, I thought. I can’t say it’ll satisfy me because, pff, satisfaction is not in my future.
Even after his visit to Ivan the Ghostseer, Nicholas had more skepticism than any real belief in the legends and myths that so many shared with him (from scientists and scholars to street cleaners and check-out girls), though it was all in fun. There was a consistency in what they said with small variations, a kind of collective mass awareness of the subject. One incident shifted him a little closer toward belief – a visit to the Castle at Pidhirtsi with his friend Vira, his actress friend from the Zankovetsky Theater.
There’s a great flood happening so the prostitutes and drug dealers have come to seek shelter in the bookstore. Meanwhile as this is all going down it’s the last Tuesday night of the month, so we are reading. You can see all the employees running throughout strategically placing buckets on the carpet floor to catch the rain that’s coming in through the roof. They respect our time, our sharing. This is a safe place.
The biggest difference between this book and the original is my emphasis on stories. The original includes some stories, but that doesn’t seem to have been a requirement for contributors. For me, though, that was by far the most fascinating part of that book.
...in which Kendall had demanded that Man Repeller help her design the most perfect set of high heel clogs, a pair of shoes with wooden platform scaffolding designed to alleviate the discomfort of an elevated ankle, and make proper aesthetic use of faux wool and suede, but which was altogether offensive for Man Repeller’s brain to even think about, more offensive than having to leave New York to work from the Kardashian home in Calabasas, and which inspired Man Repeller to pissily challenge Kendall that if she could show her a clog, any clog in the entire motherfucking universe, that didn’t make everyone want to vomit, then she would give in and design this pair of clogs that Kendall wanted so much...
The separation of dance and theater- this is a life long irritant for me! In my personal and very subjective time line, the distrust in Western theater of dance all began post-18th c. Since then, we audience(s) have been increasingly subjected to mind-numbing, un-ironic, unambiguous “reality” on stage.
If you do it right and you do it long enough, eventually something tiny and great lands in one of your shitty, embarrassing drawings. It winks at you and says hey, remember me? And then you want to cry because you finally got your pieces back, but you don’t cry because now you can draw about it instead.
I can tell you that loafing in my studio is lots more fun than clocking into an office every day. Amy, you want a serious answer? It is interesting. Critics are the only honest people left in the art world, yet they're immersed in ontological doubt -- as my kid once said to me, "you get paid for looking at art?!" Artists labor under their own kind of contradiction, in that they embody creative freedom yet are all but required to produce the same kind of thing over and over.
For me all art is contemporary art. From Cave Painting to now; it's all in play everywhere at the same time. I think that our current teleological system of art history based on progress and art is mainly measured by formal moves "forward" via techniques, tools, etc. This system is already dead; it just doesn't know it.
The core of her book is less about tidying, in my view, than the power of imaginary play: to take an object, feel it, and then decide its fate, is to become the all-powerful parent who can disregard, or even “discard" a child—(for a newer model, perhaps)—or not. Kondo's brilliance is in creating a ritual in which the “parent” who has this terrible power—and mind you, this is every parent—is imbued, via her script, with only a loving consciousness.