Sometimes I feel sad and dissolute, in a state of suspension.
Anu cut my hair last night. She did so in gratitude for the Anu Hair Graduation pages at http://www.cinemavii.com/Events/13Feb2002Anu.htm.
My hair looks good!
Then I attended the SideWalk performances of Toby Goodshank and Kimya Dawson. Theirs is a style in stark contrast to the antifolk history of histrionics (a subchapter). The intensity remains. The delusion of a relaxation aura permeates. They are acting like wheel cogs performing their assigned function. They are highly observable. They are honest and confrontational and yet pleasing to the eye. Their material is outrageously humorous. I will take them up on their performance suggestions, I who was always the piano pounder, singing above my natural register... A parallel to their progression (Through "Hammel on Trial" into "Major Matt Mason, USA") may be traced in the performance of Hoagy Carmichael. He seemed to get slower, from the bix band days into the lazy river days. He didn't deintensify his performance, he only made it sound like he did.
I ran into Rick Shapiro. He had read something I wrote about him that I think you will find in these archives, around July 2001. It was a wonderful moment to see him look back at me with some inkling of recognition.
Wednesday, May 15, 2002
Tuesday, April 30, 2002
Friday, April 26, 2002
The Association of the Bar of the City of New York hosted a scotch tasting evening last night. Clunk on the floor. My favorite was that 19 year old dark one with the smokey aftertaste, but please, at one point my throat was emulating the Strept Condition. Barley and malt ferment. Single malt? The Scotland Highlands. The problem with a promotion like that is afterward you can't remember a thing. Last night my innards were burning. That's a hearty crew. Later on I ran into Turner Cody, Brer Brian, Spencer Chakidis, Monica, Turner went back to tip the bartender, our anti-hoot friend George Levy, hey, the Cinema Place on East 11th got its liquor license. I walked with him to discover all this.
Brer helped improve the Cinema VII collective with some worthwhile links to be found on his star galaxy page, and I note here his info about Surf Reality (open mikes Sunday hosted by Face boy) and Collective Unconsciousness (open mikes Wednesday hosted by Rev. Jen) <- that's the info. I saw him twice yesterday, once in the morning and once in the evening.
Hey, tonight the moon is very full.
Brer helped improve the Cinema VII collective with some worthwhile links to be found on his star galaxy page, and I note here his info about Surf Reality (open mikes Sunday hosted by Face boy) and Collective Unconsciousness (open mikes Wednesday hosted by Rev. Jen) <- that's the info. I saw him twice yesterday, once in the morning and once in the evening.
Hey, tonight the moon is very full.
Sunday, April 21, 2002
Dear Terry and Yuko, I include in this email an informative, if completely outrageous, speach given during one of the early runs of Prepare to Meet Your Maker.
Here's an announcement:
The theatrical centerpiece of the WAH Center's Apocalypse '99 returns to the stage June 2nd, 7, 8 & 9 & 14, 15 & 16.
Celebrating the release of the WAH Center's first musical theatre soundtrack album, the WAH Center Theatre Wing will present seven encore performances of Prepare to Meet Your Maker.
For your consideration: The Essay: Prepare to Meet Your Maker and the Issue of Consent (Please note that, herein, kiss may be substituted for all terms of passion.)
Good evening, Ladies and Gentlemen. Allow me to introduce to you Prepare to Meet Your Maker, the heavenly musical mystery play by Peter DIzozza (celebrating the release of its soundtrack album with seven performances at the Williamsburg Art & Historical Center.)
This surrealist masterwork depicts the meeting of a corpse, Cementeria, and a gravedigger, Quasimodo, who, through contact with one another, are both invigorated and revitalized.
The action takes place in and around a pearly-gated community, called the Ordered World. Only people who have been to the baptist may enter this exclusive enclave.
Cementeria (an unwashed cindergirl) takes drastic, and some may say offensive, steps to be with the baptist -- in doing so she follows in the footsteps of Salome.
By beheading the baptist, she gains entrance to the Ordered World, but, once inside, she meets her maker, dies and is promptly removed by Quasimodo and other hunchbacked gravediggers, who treat her lifeless body like so much after-dinner garbage.
The male romantic lead in this work, Quasimodo, initially sees himself as repellent and solitary, certainly not above administering rohypnol, the "date/rape drug," if such were available. Instead, he satisfies himself with the dead. Therefore, the only Ordered World residents he embraces are corpses.
The discarded Cementeria offers much to those with whom she comes in contact, and Quasimodo is the first to discover this.
When Quasimodo's graveyard lovemaking awakens Cementeria, her first order of business is to improve his health and posture "I don't like you hunched over like that. Stand up straight."). Then, applying lessons in personal hygene learned from her experience with the baptist, she and Quasimodo return to the pearly gated community of the ordered world (through a side entrance) and present themselves as a proud couple that the ordered world residents wish to embrace and include among the best of them.
All goes well for a time until Quasimodo reveals their secret, "She's dead and my fucking her is what's keeping her alive."
Upon learning this, a strong-arm coalition of necrophiliac-bashers force them to separate.
The rest of the story portrays their reunion and subsequent rehabilitation as participants in an ancient Egyptian tale of resurrection, the legend of Isis and Osiris.
(Kerrigan Webb as Cementeria and Charles Herold as Quasimodo)
Along with the dead, many issues are raised within the breathtaking scope of this work, not the least of which is the issue of preservation or disposal of the dead, currently an issue of cryonics or cremation. Furthermore, as a surrealist work, Prepare to Meet Your Maker defies explanation, yet one issue does reoccur which is worth considering during the Dawn of the Age of Romantic Enlightenment announced within the work, and that is why, I suggest we consider Prepare to Meet Your Maker and the issue of consent.
"'At the moment of consent I say, 'It wasn't what I meant.' It only takes an instant to be cured of a forfeiture.'"
That quote from one of the 12 songs in the show (The Cage is Chilly) is important because both Quasimodo and Cementeria act in ignorance of consent at some point early in the story,
Cementeria in kissing the baptist,
and Quasimodo in kissing (fucking) Cementeria;
both actions occur at times when the object of their affection is unable to refuse,
the baptist, because he has been beheaded
and Cementeria because she is dead.
There is little more to be said on the subject except that Cementeria does come to appreciate and instruct Quasimodo on the importance of consent for mutual satisfaction in long-lasting growth relationships. It is she who advises him, "a woman should be conscious before you start getting excited about her."
Here is yet another example of how Prepare to Meet Your Maker contributes to the greater goal of Romantic Enlightenment for all. Go forth in a state of exuberance. Thank you.
And thank you, for wading through this. Perhaps it will be of some assistance in promoting the show.
We can sell the soundtrack CD at the performances and on the WAHCenter.org site to raise money for theatre development there...
Yours truly, Peter
Here's an announcement:
The theatrical centerpiece of the WAH Center's Apocalypse '99 returns to the stage June 2nd, 7, 8 & 9 & 14, 15 & 16.
Celebrating the release of the WAH Center's first musical theatre soundtrack album, the WAH Center Theatre Wing will present seven encore performances of Prepare to Meet Your Maker.
For your consideration: The Essay: Prepare to Meet Your Maker and the Issue of Consent (Please note that, herein, kiss may be substituted for all terms of passion.)
Good evening, Ladies and Gentlemen. Allow me to introduce to you Prepare to Meet Your Maker, the heavenly musical mystery play by Peter DIzozza (celebrating the release of its soundtrack album with seven performances at the Williamsburg Art & Historical Center.)
This surrealist masterwork depicts the meeting of a corpse, Cementeria, and a gravedigger, Quasimodo, who, through contact with one another, are both invigorated and revitalized.
The action takes place in and around a pearly-gated community, called the Ordered World. Only people who have been to the baptist may enter this exclusive enclave.
Cementeria (an unwashed cindergirl) takes drastic, and some may say offensive, steps to be with the baptist -- in doing so she follows in the footsteps of Salome.
By beheading the baptist, she gains entrance to the Ordered World, but, once inside, she meets her maker, dies and is promptly removed by Quasimodo and other hunchbacked gravediggers, who treat her lifeless body like so much after-dinner garbage.
The male romantic lead in this work, Quasimodo, initially sees himself as repellent and solitary, certainly not above administering rohypnol, the "date/rape drug," if such were available. Instead, he satisfies himself with the dead. Therefore, the only Ordered World residents he embraces are corpses.
The discarded Cementeria offers much to those with whom she comes in contact, and Quasimodo is the first to discover this.
When Quasimodo's graveyard lovemaking awakens Cementeria, her first order of business is to improve his health and posture "I don't like you hunched over like that. Stand up straight."). Then, applying lessons in personal hygene learned from her experience with the baptist, she and Quasimodo return to the pearly gated community of the ordered world (through a side entrance) and present themselves as a proud couple that the ordered world residents wish to embrace and include among the best of them.
All goes well for a time until Quasimodo reveals their secret, "She's dead and my fucking her is what's keeping her alive."
Upon learning this, a strong-arm coalition of necrophiliac-bashers force them to separate.
The rest of the story portrays their reunion and subsequent rehabilitation as participants in an ancient Egyptian tale of resurrection, the legend of Isis and Osiris.
(Kerrigan Webb as Cementeria and Charles Herold as Quasimodo)
Along with the dead, many issues are raised within the breathtaking scope of this work, not the least of which is the issue of preservation or disposal of the dead, currently an issue of cryonics or cremation. Furthermore, as a surrealist work, Prepare to Meet Your Maker defies explanation, yet one issue does reoccur which is worth considering during the Dawn of the Age of Romantic Enlightenment announced within the work, and that is why, I suggest we consider Prepare to Meet Your Maker and the issue of consent.
"'At the moment of consent I say, 'It wasn't what I meant.' It only takes an instant to be cured of a forfeiture.'"
That quote from one of the 12 songs in the show (The Cage is Chilly) is important because both Quasimodo and Cementeria act in ignorance of consent at some point early in the story,
Cementeria in kissing the baptist,
and Quasimodo in kissing (fucking) Cementeria;
both actions occur at times when the object of their affection is unable to refuse,
the baptist, because he has been beheaded
and Cementeria because she is dead.
There is little more to be said on the subject except that Cementeria does come to appreciate and instruct Quasimodo on the importance of consent for mutual satisfaction in long-lasting growth relationships. It is she who advises him, "a woman should be conscious before you start getting excited about her."
Here is yet another example of how Prepare to Meet Your Maker contributes to the greater goal of Romantic Enlightenment for all. Go forth in a state of exuberance. Thank you.
And thank you, for wading through this. Perhaps it will be of some assistance in promoting the show.
We can sell the soundtrack CD at the performances and on the WAHCenter.org site to raise money for theatre development there...
Yours truly, Peter
Tuesday, April 09, 2002
Wow! Welcome to Wowtown! It's the April 8th, 2002, Antihoot at SideWalk and I'm deciphering my memo notes. Thomas Tumax played a great song about the groundhog that passed (it peaked out its nose into the path of a passing meteor). "It's a Full Moon Over Wowtown." See him Friday at Sidewalk with David Dragov opening the night.
Chris, wearing a Ramones T and playing a nylon string guitar, and Dan, on bass, played a great first song and the second, a two chord walk on the wild side song.
Joe Bendik's opened with an open tuning steel slide of a song with the lyric,"My Landlord Not Feeling What I Mean." He's always up against The Man, and frankly, I think he can handle it. Next song, a list song with a gospel blare repeated that "It's a a fine Line between," well, a list of things, most memorable being, as Lach quoted throughout the night, a blow job and getting sucked... I think there was a female reference contained in the line.
Robin, like Chris, was also in nylons (nylon guitar strings, originally catgut??? more easily obtained than wire... Smithsonians? History lesson please.) She sang about the Blackstar Cowboy with buddhist tendencies.
Casey Holfet back from California with Jenn Lindsay talked about riding in the back middle seat of the car, riding bitch, and an audience member corrected him, saying the term referred to the passenger on a motorcycle. Casey played a 12 string, filling the room with it, and his voice, during the chorus climax of his great second song, one of his earlier songs.
Sonia, in love with the pencil bearded silent bob (yes, the man with a view askew), but respectful of his marriage vows, (it's the innovative filmmaker/writer/actor/auctioneer, Kevin Smith -- she confessed her fondness when Lach asked about the cartoon graphic sticker of him and his blonder counterpart on her guitar.), Sonia, at eighteen, is one powerhouse vocalist and simply the coolest of the coverers. I am so grateful for her performance of Look how they shine for you, referring to the stars; it's a strong song by Cold Play. Good thingI was sitting with musicologist tv personality Dave of Dave's Place. She also referred to that good feeling when they knocked out the Death Star, a Star Wars reference, thank you Joseph Cambell for at least making such info available, again I owe understanding the reference to The Dave of Dave's. The reason for the reference being the parallel in movie history heights achieved with the ending flames of The Fight Club. Then she played the Pixies song that plays under The Fight Club end credits, "Where is My Mind," beautifully performed. Pixie guys, you'll love her. (Before her I only knew "Is she weird? Is she white? Is she promised to the night? -- and her head has no room -- is she...").
Lach observed that the Sinking of the Bismark was, like the destruction of the death star, a turning point, this one for England v. Germany. He just saw the Christopher Lee film version. He also described a Real World documentary about a cosmonaut stuck up in the Mir Space Station during the Soviet/Russia transition. You're going next week, right? AntiHoot Open Mike hosted by Lach every Monday at SideWalk, 94 Ave A, NYC's East Village.
Next stop, the Nemo conference performer presenting a cliche ridden specifics aversion song for the Poor Little Rich Girl and all the kings horses couldn't put richie together again. (Noel Coward wrote to her, "don't drop a stitch too soon." Did he coin the PLRG phrase? Brikell well caught the gist when she songwrote to the iconic Edie Sedgwick)
During the second song ("clone me" inspired by the pet cloners' press release), I started critiquing the steak wrap I was eating. Dave pointed to the salt & pepper shakers and I started critiquing them until his definitive "vintage" left nothing more to be said on the subject. Anyway, and obviously, the performer's two songs were quite strong in that they made identifiable marks upon the memory. .
Chris Taylor started off slow and ended big with what is the very big "Come Over Here My Love," and followed with the not too dissimilar sounding "I'm Sorry." He brings to mind the later set of James Levy. Both have strong realistic rock ballad voices and songs that grow.
Lach with the elegant Chuck on Sax performed "I Always Love the Girl Who Lives in a Private World, and I Become a Jester Just to Get Her To Smile at Me," and with regard to the statement contained therein, SO DO I, although I'd love to temper "Always" with "when I think she on to something," or is that, "when we discover the near spiritual connection that has ALWAYS existed between the two of us?" Dream on.
He followed with his hilariously unique brand of the blues riff, "Drinking Beers with Mom."
Jordan Corbin performed the indelible Halfway Dingbat Halfway Smart Halfway Science Halfway Art. And the Bird on a Painting song which some say refers to female orgasm. Dave observed that vocally she bears resemblence to Jil Sobel. I forgot to ask who that is. Could it be the woman I know as Just Jill?
Nell Baliban, with "Just No Forcing Love" followed by the beautiful jazz chorded "Wallow," provided a Joni Mitchell moment or two.
Next played a fellow wearing a parks department shirt; I meant to ask, does he play guitar for the NYC Parks Dept? He'd pasted his ID on the guitar. I think Sean was his name. Parks permits are essential during the summer.
James Levy played Cementeria or, rather, something about cemeteries, and was joined by Dina Dean for Smoking in my Window. There's a girl at my window.... "Who on earth is tapping at the window?" asked Elvis Costello. "She Came In Through The Bathroom Window," was a refreshing moment during the mordant second side of the Abbey Road album with the funeral march cover. Was Paul Dead Or Not? Not in that song. (added note: I'm just remembering how depressingly horrifying that album was. Can an audience really make entertainers THAT weird?)
Yuka played and sang one outrageously controlled simple single note sounding ukeleili song, followed by and joined by Joe Driscoll for the beautiful Yes Yes Yes! Joe provides beats -- tasteful mouth percussion. Joe runs Artland on Grand Street in Williamsburg, Brooklyn
Do you think I keep up with this detail? I played next joined by J.T. Casaubon. Maybe more later. See you there Sunday April 14th at 10! This is a continuation of the blogger entry that precedes it.
Last night I played "Cul de Sac" and, with Josh (J.T. Casaubon) singing, "Don't Leave Me Behind (Prisoners of War)," then went downstairs to speak with Jenn about California venues. She likes Javanikan in Pacific Beach and Zodiak Cafe in La Mesa, both locations suburbs of San Diego. In San Francisco she likes Coffee House at Stanford University, The Hotel Utah Saloon and Cafe Du Nord.
Regarding Jamie Litt I have The Dave of Dave's note, nice hair, longer than ever.
Earl Pickens did his cowboy routine with open shirt revealing a T that read "Don't Fuck with New York." Let's all add the poetic follow-up line together, "'Cause New York will fucking kill you." He plays Saturday with his Black Mountain Maurauders.
Magicomic Asi bent spoons with his eyes. Jordan Corbin tried to afterward. He asked Jordan to sign his mailing list and she promptly took his sharpy and traced over her police acadamy sweat shirt, actually only over the "po" part...
Of Thee I sing, Baby.
The Thee of which I Sing is You!
The thee of whom I sing is you?
Eric McFadden of Funkadelik introduced the above word ideas with intricate guitar interplay.
Dave provided these names for while I was occupied: James Levy, we remember him. Lorraine Leckie, Timothy Dark, oh, I was back for Pre-War Yardsale. Their next stop is London!
Mary Gatchell played a song to help us recover from the inadequate Titanic Ballad, quite an inspiration to hear.
Anika played, oh, and it's anika that rhymes with Monica, her second song being an earlier one, "fuck with me. She sang, if you do, then do it right. Lach managed to offend a woman from England when he regretted missing the premier to Spiderman. Apparently, he'll be n England where they're just getting premiers of Planet of the Apes.
Atoosa combined Karma, Hades, Isees and Pythons in her first song. Her second song, a new one, quite beautiful and simply accompanied, was called sun yellow reversal. Was she wearing a sun yellow reversal at the time? We get spliced from circles into triangles.
Leaving I saw Adam Green, Joie DBG and Cockroach in the restaurant area, Cockroach being particularly well shaved. Apparently the way to go is a woman's bic with aloe. Sidewalk resumes serving its breakfast special after midnight. No one with three dollars shall go hungry there! Before the eggs arrived, I left.
And that's all I have to say about the latest in popular music as of last night.
Chris, wearing a Ramones T and playing a nylon string guitar, and Dan, on bass, played a great first song and the second, a two chord walk on the wild side song.
Joe Bendik's opened with an open tuning steel slide of a song with the lyric,"My Landlord Not Feeling What I Mean." He's always up against The Man, and frankly, I think he can handle it. Next song, a list song with a gospel blare repeated that "It's a a fine Line between," well, a list of things, most memorable being, as Lach quoted throughout the night, a blow job and getting sucked... I think there was a female reference contained in the line.
Robin, like Chris, was also in nylons (nylon guitar strings, originally catgut??? more easily obtained than wire... Smithsonians? History lesson please.) She sang about the Blackstar Cowboy with buddhist tendencies.
Casey Holfet back from California with Jenn Lindsay talked about riding in the back middle seat of the car, riding bitch, and an audience member corrected him, saying the term referred to the passenger on a motorcycle. Casey played a 12 string, filling the room with it, and his voice, during the chorus climax of his great second song, one of his earlier songs.
Sonia, in love with the pencil bearded silent bob (yes, the man with a view askew), but respectful of his marriage vows, (it's the innovative filmmaker/writer/actor/auctioneer, Kevin Smith -- she confessed her fondness when Lach asked about the cartoon graphic sticker of him and his blonder counterpart on her guitar.), Sonia, at eighteen, is one powerhouse vocalist and simply the coolest of the coverers. I am so grateful for her performance of Look how they shine for you, referring to the stars; it's a strong song by Cold Play. Good thingI was sitting with musicologist tv personality Dave of Dave's Place. She also referred to that good feeling when they knocked out the Death Star, a Star Wars reference, thank you Joseph Cambell for at least making such info available, again I owe understanding the reference to The Dave of Dave's. The reason for the reference being the parallel in movie history heights achieved with the ending flames of The Fight Club. Then she played the Pixies song that plays under The Fight Club end credits, "Where is My Mind," beautifully performed. Pixie guys, you'll love her. (Before her I only knew "Is she weird? Is she white? Is she promised to the night? -- and her head has no room -- is she...").
Lach observed that the Sinking of the Bismark was, like the destruction of the death star, a turning point, this one for England v. Germany. He just saw the Christopher Lee film version. He also described a Real World documentary about a cosmonaut stuck up in the Mir Space Station during the Soviet/Russia transition. You're going next week, right? AntiHoot Open Mike hosted by Lach every Monday at SideWalk, 94 Ave A, NYC's East Village.
Next stop, the Nemo conference performer presenting a cliche ridden specifics aversion song for the Poor Little Rich Girl and all the kings horses couldn't put richie together again. (Noel Coward wrote to her, "don't drop a stitch too soon." Did he coin the PLRG phrase? Brikell well caught the gist when she songwrote to the iconic Edie Sedgwick)
During the second song ("clone me" inspired by the pet cloners' press release), I started critiquing the steak wrap I was eating. Dave pointed to the salt & pepper shakers and I started critiquing them until his definitive "vintage" left nothing more to be said on the subject. Anyway, and obviously, the performer's two songs were quite strong in that they made identifiable marks upon the memory. .
Chris Taylor started off slow and ended big with what is the very big "Come Over Here My Love," and followed with the not too dissimilar sounding "I'm Sorry." He brings to mind the later set of James Levy. Both have strong realistic rock ballad voices and songs that grow.
Lach with the elegant Chuck on Sax performed "I Always Love the Girl Who Lives in a Private World, and I Become a Jester Just to Get Her To Smile at Me," and with regard to the statement contained therein, SO DO I, although I'd love to temper "Always" with "when I think she on to something," or is that, "when we discover the near spiritual connection that has ALWAYS existed between the two of us?" Dream on.
He followed with his hilariously unique brand of the blues riff, "Drinking Beers with Mom."
Jordan Corbin performed the indelible Halfway Dingbat Halfway Smart Halfway Science Halfway Art. And the Bird on a Painting song which some say refers to female orgasm. Dave observed that vocally she bears resemblence to Jil Sobel. I forgot to ask who that is. Could it be the woman I know as Just Jill?
Nell Baliban, with "Just No Forcing Love" followed by the beautiful jazz chorded "Wallow," provided a Joni Mitchell moment or two.
Next played a fellow wearing a parks department shirt; I meant to ask, does he play guitar for the NYC Parks Dept? He'd pasted his ID on the guitar. I think Sean was his name. Parks permits are essential during the summer.
James Levy played Cementeria or, rather, something about cemeteries, and was joined by Dina Dean for Smoking in my Window. There's a girl at my window.... "Who on earth is tapping at the window?" asked Elvis Costello. "She Came In Through The Bathroom Window," was a refreshing moment during the mordant second side of the Abbey Road album with the funeral march cover. Was Paul Dead Or Not? Not in that song. (added note: I'm just remembering how depressingly horrifying that album was. Can an audience really make entertainers THAT weird?)
Yuka played and sang one outrageously controlled simple single note sounding ukeleili song, followed by and joined by Joe Driscoll for the beautiful Yes Yes Yes! Joe provides beats -- tasteful mouth percussion. Joe runs Artland on Grand Street in Williamsburg, Brooklyn
Do you think I keep up with this detail? I played next joined by J.T. Casaubon. Maybe more later. See you there Sunday April 14th at 10! This is a continuation of the blogger entry that precedes it.
Last night I played "Cul de Sac" and, with Josh (J.T. Casaubon) singing, "Don't Leave Me Behind (Prisoners of War)," then went downstairs to speak with Jenn about California venues. She likes Javanikan in Pacific Beach and Zodiak Cafe in La Mesa, both locations suburbs of San Diego. In San Francisco she likes Coffee House at Stanford University, The Hotel Utah Saloon and Cafe Du Nord.
Regarding Jamie Litt I have The Dave of Dave's note, nice hair, longer than ever.
Earl Pickens did his cowboy routine with open shirt revealing a T that read "Don't Fuck with New York." Let's all add the poetic follow-up line together, "'Cause New York will fucking kill you." He plays Saturday with his Black Mountain Maurauders.
Magicomic Asi bent spoons with his eyes. Jordan Corbin tried to afterward. He asked Jordan to sign his mailing list and she promptly took his sharpy and traced over her police acadamy sweat shirt, actually only over the "po" part...
Of Thee I sing, Baby.
The Thee of which I Sing is You!
The thee of whom I sing is you?
Eric McFadden of Funkadelik introduced the above word ideas with intricate guitar interplay.
Dave provided these names for while I was occupied: James Levy, we remember him. Lorraine Leckie, Timothy Dark, oh, I was back for Pre-War Yardsale. Their next stop is London!
Mary Gatchell played a song to help us recover from the inadequate Titanic Ballad, quite an inspiration to hear.
Anika played, oh, and it's anika that rhymes with Monica, her second song being an earlier one, "fuck with me. She sang, if you do, then do it right. Lach managed to offend a woman from England when he regretted missing the premier to Spiderman. Apparently, he'll be n England where they're just getting premiers of Planet of the Apes.
Atoosa combined Karma, Hades, Isees and Pythons in her first song. Her second song, a new one, quite beautiful and simply accompanied, was called sun yellow reversal. Was she wearing a sun yellow reversal at the time? We get spliced from circles into triangles.
Leaving I saw Adam Green, Joie DBG and Cockroach in the restaurant area, Cockroach being particularly well shaved. Apparently the way to go is a woman's bic with aloe. Sidewalk resumes serving its breakfast special after midnight. No one with three dollars shall go hungry there! Before the eggs arrived, I left.
And that's all I have to say about the latest in popular music as of last night.
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