Hi guys I hope you are all well. I am still having such a hard time missing Dave-the ache in my heart is tremendous. I have a lovely apartment in n.j. Near my daughter. I probably have said this all before-after being in a coma and having a stroke I have no short memory-it can be quite embarrassing-I have had to learn many of my neighbors names and have had to write them all down! My kids have all be so good to me-and are helping with the rent. Dave would have loved it here. Shortly before he died he said in sellersville where we weren’t allowed pets -wouldn’t you love a cat sitting next to you on the sofa while I am at work? We are allowed cats here and I have a big fluffy black at called joffrey-he’s the best and sits by me all day long-I’ll send you a pic.
Keep well my friends xxx ana
Category: other artists (Page 7 of 38)
DAVE
I WANT YOU BACK
HERE WITH ME
THERE IS AN EMPTYPLACE
NEXT TO ME WHERE YOU
SAT WATCHING THE PHILLIES
LOOSE ONCE AGAIN -GOD
HOW I LOVED YOU DAVE
WE WERE A WINNING TEAM
YOU AND I NOTHING COULD
BRAKE US APART TILL IT
DID -MY HEART IS AN EMPTY
VESSEL WHERE YOU ONCE
WERE-DAVE AND ANA ANA
AND DAVE -IT SEEMED LIKE
WE’D LIVE FOREVER
YOU THE EDITOR
ME THE WRITER- WHEN
WE BECAME LOVERS IN
THAT TORONTO HOTEL
EIGHTEEN YEARS AGO
HOLDING TIGHT FOREVER
MAKING LOVE WITH OUR
PASSION SO DEEP AND
NEVER ENDING
MY SWEET LOVER
NOW I TRY NOT TO CRY-
BUT I DO AND
I WILL NEVER STOP
FOR YOU ARE GONE
FOREVER-
MY SWEET LOVE
MY HEART IS AN EMPTY
VESSEL
WHAT AM I TO DO
WITHOUT YOU MY DAVE?
(Ana Christy wrote:)
THIS IS JOFFREY MY NEW FLUFFY BLACK CAT- BEFORE DAVE DIED WHEN WE WERE IN SELLERSVILLE HE SAID TO ME” DON’T YOU WISH YOU HAD A CAT TO KEEP YOU COZY WHEN I AM AT WORK?”-WE WEREN’T ALLOWED CATS THERE-NOW I AM HERE IN N.J. WITH THIS GREAT CAT AND NO DAVEXXXX
* * * * *
even got the cat photo up!
In Freedom,
Frank Moore
Hey Frank. I loved what you had to say about people having the “right” to not be offended and to have their comfort zones forcibly protected. I was wondering if you knew of a brilliant author named Phillip Pullman who’s been under attack lately for saying pretty much the same thing.
My lover Tyr and I are huge fans of Phillip Pullman. He’s an atheist who believes that organized religion has caused immeasurable levels of bigotry, conformity, and violence in the world. He is also the author of the young-adult trilogy His Dark Materials, which include The Golden Compass, The Subtle Knife, The Amber Spyglass. The books encourage children to THINK. At that age I remember a deep appreciation for the respect for children’s brains that came through in the writing, when many people have the unconscious or conscious belief that children are inferior, less intelligent beings. These books are some of the most sensual, enlightening, wonder-inspiring books I’d ever read, and I enjoy reading them even more than I did as a child.
Recently he wrote a new book called The Good Man Jesus and The Scoundrel Christ. He’s been under attack lately from a lot of people who say that this new book and its title are offensive to Christians. Some have demanded that he publicly apologize for “offending people”. Here is a wonderful 2-minute clip on what he had to say about that. It’s very close to what you said about people having the “right” to not be offended ‘and to have their “comfort zones” be respected, honored, and forcibly protected,’ and I literally cheered to watch it.
http://www.thinkatheist.com/video/philip-pullman-answers-a
PS, who’s Paul Krassner? That name sounds incredibly familiar, a person I may have been exposed to in the last couple of days in some way.
* * * * *
that is a great clip /quote, Katie! I will play it on my Berkeley community public access cable show. One of the functions of art is to go outside of the margins of the NORMAL /ACCEPTABLE to explore and question and expand, breaking down the old boxes. All of this threatens and offends those who are invested in the RIGHT /COMFORTABLE way.
Also the big lie is we are weak, fragile, so we need to be careful, need to protect ourselves, to always be just dipping our toes in the water instead of going all the way, instead of living with irresistible abandon. The truth is being careful is what creates fragility. Getting dirty, tasty, going all the way gives you a freedom and a healthy immune system!
see http://en.wikipedia.org/wiki/Paul_Krassner for the overview of Paul Krassner. Basically he’s one of the Counter culture’s mothers… And one of my heroes since high school when I got into trouble for getting THE REALIST, his no-bars satire zine. And check http://www.eroplay.com/krassner.html which is my interview with him I did in the mid- nineties.
In Freedom,
Frank Moore
hi, Drake!
you said i wish i had at least one female collaborator to work with – i feel like i could pull off some powerful stuff
my suggestion is focus on having a long term life mate on all levels.
In Freedom,
Frank Moore
* * * * *
yes indeed! the universe has been tardy in that department. i was married rather happily for awhile… although i’ve wanted to find another mate, i’ve been quite damaged and blah blah you know how people are in general in this country…
Drake
* * * * *
mmmmmm, Xxxxxxxxxx etc.
In Freedom,
Frank Moore
* * * * *
hi Frank, Linda – glad to have read about your recent happenings. here in ashland, i’ve put up a notice on an online community site about starting a group-body touch group referred to as the New Innocence. I’ve gotten two responses, met, wrapping and rocking with one of them already; the other one was all gung ho at first saying “excellent, i’m in” but never manifested her presence in a meeting – ironically she writes that she is writing a book about touch. of course i want a mate on all levels, and will continue to focus on that.
love,
drake
ps i love sending your writings and links around, to inspire and spur people toward creating a more expansive and loving reality. also, starting up some schiz-flux activities again. hope to get all the mags online as part of a blog.
* * * * *
hey, Drake! We even talked about you at the performance! Unrulee has been coming to quite a few of them.
In Freedom,
Frank Moore
Hello!
Trumpet player from last saturday here! I Thoroughly enjoyed the event. Just wanted to let you know that my staying after nine was not “poop”, I was waiting for a phone call from a lady friend who was I was going to meet with, and she ran/called slightly later than expected , enabling me to stay and enjoy myself for even longer! Don’t jump to these negative conclusions so quickly! I liked the event and would like to hear about more. Take care
* * * * *
so now you know to leave your night free next time! I am looking forward to jamming with you again! Next Temescal performance is Friday may twenty-first! See you there! Btw, I knew you liked it!
In Freedom,
Frank Moore
Healing Hands
a new suite of drawings by Fred Hatt
CRS
123 Fourth Avenue, 2nd Floor
(between 12th and 13th Streets)
New York, NY
212.677.8621
Opening reception this Saturday, May 1
5:30-7:30 pm, with artist’s talk at 6:30
http://crsny.org/drupal/arts/1mayr2010-04-03
Artwork on view at CRS April 24-May 26
ALSO:
Two works by Fred Hatt are still on view through June 6 at
Ten Years of Figureworks
Figureworks
168 N 6th Street
Williamsburg, Brooklyn
www.figureworks.com
718-486-7021
Visit “Drawing Life”, Fred Hatt’s art and photography blog. New posts every week. http://fredhatt.com/blog
* * * * *
of course, Fred, you are one of my favorites!
In Freedom,
Frank Moore
frank, linda and mikey!!! aaahhhhhh …i know i missed out….BOTH weekends…i can feel it…i’m also feeling a bit jealous! wow that’s so interesting for me…i love both of these letters ..thank you for sharing them…lula sounds like a trip, much like you and your gang! can’t wait to hear about last night…i had it in my mind to come but my body was worn out, tired.
thinking about you all and sending love’
marzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
* * * * *
Marz, just imagine what we here feel after two performances within one week! We are hurting, but slowly recovering!
See you Friday night!
In Freedom,
Frank Moore
(to Paul Krassner:)
a few weeks ago, Linda found your obit of George Carlin online. First, what you and The Realist did for Carlin in the mid- sixties, you did for me too!
Carlin: “All through this period I was sustained and motivated by The Realist, Paul Krassner’s incredible magazine of satire, revolution and just plain disrespect. It arrived every month, and with it, a fresh supply of inspiration. I can’t overstate how important it was to me at the time. It allowed me to see that others who disagreed with the American consensus were busy expressing those feelings and using risky humor to do so. Paul’s own writing, in particular, seemed daring and adventurous to me; it took big chances and made important arguments in relentlessly funny ways. I felt, down deep, that maybe I had some of that in me, too; that maybe I could be using my skills to better express my beliefs. The Realist was the inspiration that kept pushing me to the next level; there was no way I could continue reading it and remain the same.”
But this line in your piece stood out for me:
As a performer, George Carlin was uncompromising, knowing that his audience trusted him not to be afraid of offending them. http://www.huffingtonpost.com/paul-krassner/remembering-george-carlin_b_109548.html
recently I got tired of people thinking they have the right to be NOT be offended and to have their “comfort zones” be respected, honored, and forcibly protected. So I went after COMFORT ZONES even more than usual. I call my performance series UNCOMFORTABLE ZONES OF FUN experiments in experience/participation performance. They even come for “uncomfortable.” But as soon as the performance dips into depth, they use their being uncomfortable to pull back! And they start yammering about staying in their comfort zones!
In Freedom,
Frank Moore
Lula, I like how you start on the street, looking at the flier. That is how my performance starts for most people. A performance isn’t just what happens within the theater. The seeing the fliers and the dynamic reactions that causes are the only aspect of the work most people touch. This aspect can last literally for decades! People actually collect our fliers! The fliers set off processes in some people. After years of seeing the fliers, they come to a performance.
As an example of the fliering aspect, Alexi and Corey last night did the fliering in Berkeley for tomorrow’s Oakland performance. Today…
“Here we packed up for the day, loaded up the truck, and were soon on the road … since the route to work went down Sacramento to Alcatraz, we got to see all of our fliering work fresh first thing in the morning … and all the people checking them out! It was like every corner there was another person standing at the crosswalk, waiting for the light to change, and standing reading the flier! Fun and satisfying! Would there be someone at the next corner …? Yes, there she is, reading the flier!”
In more non- linear paths, seeing our multi- color cars around town, walking past our houses, etc are all parts of the performance process [not to mention our public access show and LUVER]. All that comes together in the performance space.
This is also true for the reputation and myth that grows up around the work, etc. What is a sex cult? … or a leader of one? These images which grow lazily outside of the work, the artist cannot control or even live up to. If you are lucky, you can play with these expectations to explode them.
I like how you included our meeting up magically on FACEBOOK. We both were actively available, which is how magic works!
Most of my work is private performance like we did in the studio. I always wonder about guys who say “I like your tits “! Do they ever wonder why they don’t have what they think they want? I am after intimacy, closeness, going deep within aroused pleasure outside the narrow funnels with whole people [not just tits]. Don’t get me wrong… I liked rubbing your tits against my face. But I am going for more! And people feel that. So that opens things up.
Anyway, having a good title makes a performance much easier. That was why I was impressed by your title, “Prove You’re Not a Robot: Interactive Experiments in Fear-Art-Love.” Also having a “plant” who is open, eager and willing and who is prepared for the nudity and being erotic opens things up for everybody in a different way than the people like Linda and Erika [your Emilie] who have been with me for years. Your willingness changed things even before you did anything. When you acted from the willingness, it amplified the effect.
Btw, you were the only plant there. Katie from Omaha was just there. Of course, there is no way for you to know the true arrangement [unless you planted her there yourself!]. I did not even have to use my favorite line to fuzz reality up. The line is “BUT I MAY BE LYING!”
I didn’t use the word Eroplay at the performance, although the play in the performance happened to be Eroplay. You must have read ART OF THE SHAMAN which I wrote in the early nineties. Eroplay was the first physical [tanpanic] trance I “discovered.” Since then, I have discovered different tanpanic trances, etc. and different states of pleasure arousing states. I have included these in my work, especially as a response to the increasingly repressive trends in the society in the last twenty years. We were just getting to these tanpanic trances Saturday when we ran out of time.
Again the key to things getting so deep so fast was the people taking personal responsibility for doing it, for saying YES, for playing together outside of the normal boxes. It was not social, casual. It was extremely focused fun. If you wanted to “fuck” after it, it would have meant that the performance experience had been quickly absorbed back into the everyday level. But how you felt was still in the altered reality, which is really the core reality. In the mid- nineties I had to change the whole performance structure because people had absorbed it into the everyday level by making it into a pick-up scene… No magic, risk, or human connection.
There is more to say, but I will stop by saying our job as artists is always go to rocking town with abandon!
In Freedom,
Frank Moore