DEATH OF A STAR

Going quietly into the night, NOHO STAR shuttered its doors forever on New Year's Eve, 2017. There was no fanfare, and the lack of public outcry was disappointing.

I learned of the proposed closing from Ted Coons, a colleague of mine at New York University over breakfast early in December. I was saddened that the owner George Schwarz's son had decided to close both neighborhood fixtures, NOHO STAR and TEMPLE BAR after more than 30 years in order to convert the building to rental property. George passed away December 14, 2016.

Adding to my dismay was that I was scheduled to leave Manhattan for Asia before the closing. I never heard if there was an appropriate wake to mourn the loss of the NoHo Star. I saw many celebrities there during my 30 plus years of using this landmark bistro as my true office, with countless meetings with students, meeting with colleagues, meeting with artists in planning sessions, Many a project was launched over breakfast, brunch, and dinner.

NoHo Star opened after I had been with NYU for about 17 years when NoHo Star opened at 330 LaFayette Street. I saw the transformation of the area south of  Houston Street into SoHo in the late 70s. Before that it was an industrial area filled witth factories and industrial sites, warehouses, and various tradesmen.

This was a block from where I lived, and I watched artists tranform the area by invading on the weekend and using factory spaces to perform and exhibit exper innovations in technology that were experimental artwork, much of it using technollogies begun in alliances with scientist and artists in the 60s in New York, It was a time of Happenings. Everything was free and in the moment. I remember wandering around the warehouses and coming upon works such as a darkened room filled with low and high frequencies and fluctuating projections on the wall. As I grew accustomed to the dark, I saw the artist on the floor hooked up to biofeedback.

I remember how quickly artists were replacing factories and warehouses with lofts and studios. Then, quite suddenly, the area was officially dubbed SOHO, and the area hurtled toward gentrification. Now all the artists have fled and what is left are upscale stores and businesses, with Apple occupying the old Post Office Building on Prince Street.

SoHo --- because it was South of Houston Street, but also it borrowed cachet from the area in London which was also Soho and known as an area for the music, theatre, film, the arts and the pornographic industry.

I always had the fantasy that when George Schwarz acquired the building just north of Houston Street, he dubbed his eatery The NoHo Star, and inspired the christening of those few blocks north of Houston as NoHo.

It is sad to witness the death of an era in NYC which was such a mecca that it drew so many artists from the midwest and around the world, including me. Unfortunately Manhattan has been captured by a strict business mentality where the arts have a place only if they are part of the establishment. The artists have left their strongholds of SoHo and Tribecca and headed to Brooklyn, where there appears to be a renaissance in all aspects of the arts. Yes, there is a revival of young artists in te Lower East of Manhattan that is gathering momentum, even though the city politics and institutions are rigged against them.

The closing of THE NOHO STAR is the dissolution of a giant star. In my small universe, NoHo Star was a massive star, perhaps its debris of a supernova will seed new generations from the many projects and ideas hat were created through casual and not-so-casual meetings of creative people discussing, creating, and launching new ideas over coffee, tea, and the tasty fare from morning on into the night.

CAMELLIA HILL: THE FLOWERING OF ADVENTURE

As it happened during the holidays, the Camiellias of Jeju were reaching their peak. It seemed appropriate to visit Camellia Hill, a wonderful theme park which, because of Jeju's temperate climate, is open year-round with different species of flowers peaking in the changing seasons. Arriving a few days before the New Year, we found the camellias in full bloom, white and red camellia trees lining our path as we wandered through  the thick growth to encounter many surprises along the way.

There were shops, coffee houses, green houses, statues, a Japanese garden, storybook characters and icons scattered throughout the terrain. As we walked I was

reminded of the 19th Century Parks in Europe and England designed deliberately as adventures. Paths would wander and then abruptly turn and you would unexpectedly see a waterfall towering above you. Central Park in New York City was originally designed using that concept. The surprises of Camellia Hill were similar, as the growing shrubs were so thick that many things were obscure until you would enter a clearing and there would be a Greenhouse thoughtfully laid out with many species of flowers and trees and even moss. 

Further on you might see a coffee house and restaurant and then  wander through a Japanese Garden, beautifully sculpted, coming upon an exquisite Japanese Bonsai Tree near a rock formation called Crouching Dragon. The garden invites meditation, maybe a place to return to when there are fewer people. The Crouching Dragon    seems to be sleeping. I noticed that the English sub-title beneath the Korean name was "Couching Dragon,"---a typo or merely descriptive of a lazy dragon in the afternoon sun? The afternoon unfolded like an adventure, perhaps emulating the great English Parks of the 19th Century.

Finally we found ourselves in front of an elegant greenhouse, and on further investigation discovered it to be a coffee house still decorated for the holidays and almost gleaming inside from the afternoon sunlight pouring through the glass.

Here we were in the midst of winter, but on an idyllic adventure that might be typical of a Spring day elsewhere. A few days later I would be waking to see a blanket of snow on the farmland outside my window.

RECONNAISSANCE ADVENTURE TO SUNRISE MOUNTAIN IN JEJU: SANGBANSANG

Just a short drive to the Jeju coast in Seogwipo is the mountain SangBanSang which was once the peak of Mount Halla and was separated by a cataclysmic event that caused it to land by the ocean. Because it was the peak of Korea's tallest mountain, it possesses a powerful energy and spiritual presence that inspired the founding of a revered Buddhist Temple, Sangbanggulsa Temple. 

 In a reconnaissance maneuver to scout the terrain before winter solstice, I journeyed with friends along the coast leading to SangBanSang, coming upon countless coffee houses and hangouts where any aspiring Hemingway would be honored to linger to observe and write unpretentious masterpieces of humanity encountering the world, inspired by the sun and sea, with a beautiful terrain so breathtaking that one can hardly believe the whole thing is not simply a fantasy. I resolved to sometime return to Zen Hideaway to resume the writing I used to do in the coffee houses of New York City.

Arriving at the foot of the mountain, we found a multilevel approach to Buddha and the Temple, and through some mysterious means found ourselves having tea with the Temple's Buddhist Monk who revealed an inspiring voice as he shared his chants with us.  His voice had such resonance and depth, and I felt as though we were touched by some ancient miracle as he brought the sound into our presence as though summoned from some cherished sanctuary.

All of this was just to see if, indeed, the stories about the mountain being the site of a sunrise vigil to welcome in the New Year were true. They were --- we will return to SangBanSang to welcome in the new year 2018.

WINTER SOLSTICE: LET'S FACE THE MUSIC

Apparently this will be my 81st winter solstice. One might think in all these years some of the mystery would be gone, but the mystery deepens. It deepens because there is no true repetition. The absence of repetition is something we seldom notice because we are so captivated by its illusion. Music delights us when we hear the refrain repeated.... the familiar returning. We scarcely notice the illusion that Time affords us. Each repetition is tempered by time. We are older, even thought it be seconds later, and that repetition invades time as a new entity, stamping the moment with its presence, even as we are shaped by the time that passes. Even though the earth is spinnng its predictable course around the sun, the sun is traveling around the galaxy and is in a new place. Time teeters on the edge of discovery, and we are in a different energy.

We also alter the moments by the space we occupy. Our changes may be subtle or dramatic, but they never repeat the past. As the human race, we share some vision of the future. We see a scintillating panorama of things to come...of machines obedient and serving us like slaves... of an increasing, never ending projection into a future where we control our destiny. But if we are to believe artifacts and remnants from the ancient earth, there were greater dynasties than ours that have vanished...
leaving behind faint echoes of civilizations that once flourished and have fallen to some cataclysmic ending.

Recently I listened to Diana Krall's "Let's Face The Music and Dance," a masterpiece in sound and interpretation.  I detected in the arrangement and improvisation more of an encounter with the universe, with entropy and with a moon that is widening its arc around the world until it spins out of earth's orbit to some distant destiny. There is a sense of cosmic inevitability about the arrangement that moves from a simple beginning to an ending that is like the running down of the cosmos...

Perhaps Irving Berlin meant this simple lyric would mask a deeper meaning... the law of entropy demands we pay the price of existing in time...so before our fling draws to a close, we will have to pay the piper, so to speak. There are no free rides....

Ms. Krall starts with a simple dance rhythm, nice and casual, but then a note of caution, a sustained string sound has a slight foreboding tone:

There may be trouble ahead,
but while there's moonlight and music and love and romance,
let's face the music and dance.

But we try to ignore those signs of impending disaster... the music is playing, and yes, we will have to pay for our putting off the inevitable, but this the time to celebrate while we can... let's get the most from this moment:

Before the fiddlers have fled,
before they ask us to pay the bill,
and while we still have the chance,
let's face the music and dance.

Reality interrupts the party... the universe is running down and the moon is pulling against the earth, intent to follow a different journey... the counter melody moves away from the main melody

Soon, we'll be without the moon,
humming a different toon,

Then the orchestra and improv become more complex in texture, and we hear a kind of wistful orchestra as we become aware that the end may be near:

And then, there may be tear drops to shed.

But we realize we have no control over the future or our destiny:

         So while there's moonlight and music and love and romance,

                 Let's face the music and dance.

        Soon, we'll be without the moon,
        humming a different toon,

        And then, there may be tear drops to shed.
       So while there's moonlight and music and love and romance,

                 Let's face the music and dance.

                           

                          Let's face the music and dance...

                                  Let's face the music and dance.              

                                         Let's face the music and dance...

                                                Let's face the music and... dance.
            

The repetition is incessant and sad, but also resigned to the beauty of the reality that reluctantly all things come to an end...  each repetition becomes fainter and fainter as the universe comes to its treacherous demise...suddenly Ms. Krall abruptly breaks the texture with an almost passionless utterance of "dance!" and the music seems to end teetering on the brink of chaos... a brilliant rendering starting simply and unraveling as time goes on in the song... music can be a comforting companion in a journey through Time.

REPETITION...  "Let's Face The Music and Dance" has been repeated many times over the years since Irving Berlin penned this song 81 years ago when I was born in 1936. All through those 80 trips around the sun, singers such as Nat King Cole, Ella Fitzgerald, and Frank Sinatra have charmed fans with their versions which voiced the reluctance of two lovers resigned to an unknown fate... and then the song repeated in a new era, wiser in the understanding of our place in the universe, Diana Krall reminds us that we should relish "our place in the sun" while we can... just Face The Music and Dance...

And so this solstice is our romance with humanity's journey with the sun and our hope that the sun will continue to sustain us for another season... a ritual since before Stonehenge and now in a few days on Sunrise Mountain on Jeju Island.

A POET'S WALK

Last October... as autumn ebbed away with slight invasions of winter... as a Saturday sun defined a golden afternoon, I meandered through Poet's Walk overlooking the Hudson River where Washington Irving once walked and is said to have been inspired by the distant Catskills to write Rip Van Winkle. It was a perfect autumnal evening with the waning sun settling in the west. Below, the Hudson detailed itself in elegant silence, and clouds interpreted the sky with glowing gestures of drifting calm.

Now in the waning hours of 2017, I walk along the beautiful vistas of Jeju Island, which erupted into being eons ago in the Yellow Sea. Looking north, I know the morning calm of mountains of Korea are somewhere beyond the horizon. To my right, Japan silently waits for my attention, and to my left the vast mystery of China calls me with a voice I remember when I was a child discovering that continent in my father's library.

In some way that I cannot understand, this island has emerged as the center of the universe and my mind leaps light years in all directions. What began as a poet's walk along the Hudson has become a greater walk among the stars. Perhaps the most elegant aspect of the island is the magnificent changing skies providing a panorama of changing cloud-formed constellations. I see the sun painting such bold, and sometimes delicate, streaks of light, igniting a spectrum of colors, never repeating and endlessly changing. At night, dwarfed by the surrounding oceans, the island glows in the moonlight and silence is the music of darkness. And in the silence I hear the music of myself.

AN ERA

Time has a way of continuing to unfold. It is the most compelling dimension we encounter. It is the consequence of of a moment of revelation in awareness ignited with a sense of IS-NESS. We have been trying to understand ourselves in relationship to Being and Time, Time and Being, (as Heidegger framed the dilemma twice in his life).

In eight decades, the procession of events has been defined somewhat angular on what I sensed as an upward trajectory. This metaphor is probably common to us all. Does the trajectory now tail off and curve back toward the earth, or does it continue and escape gravity, spiraling toward unknown destinies?

That is where I am today, as I look to know where Wyzard Ways now wanders, for I sense it more as a wandering than a zooming.  Free of the gravity of my past life, I now float freely toward some unknown destiny. The all sounds much too grand for what emerges as a quiet, more reflective drifting to new ways of BEING and MEANING. 

I look to being in a place where I can comprehend where I have been and what that may actually represent as experience, as a sense of reality. Language begins to fall short of discovery. 

ACKER AWARDS AT THEATRE 80 ST MARKS CELEBRATES THE AVANT GARDE

With noted Avantgarde-artist Clayton Patterson serving as Presenter, the 2017 Acker Awards Ceremony was warmly acclaimed by a packed audience of fellow artists and arts enthusiasts. It was more of a happening than a ceremony.  Initiated on the West Coast, and named after novelist Kathy Acker, the East Coast Acker Awards in 2013 was founded by Clayton as a means of documenting the extraordinary artistic activities in the lower east side of New York. Clayton champions and celebrates the leading edge of artistic development that has long been identified with the East Village.



As described on HOWL ARTS: (updated slightly)

The ACKER Awards were created by Alan Kaufman in San Francisco and Clayton Patterson in New York. Patterson and friends pay tribute to members of the avant-garde arts community who have made outstanding contributions in their discipline in defiance of convention, and to those who have served their fellow writers and artists in outstanding ways. The Acker Awards are named after novelist Kathy Acker, who in her life and work exemplified the risk-taking and uncompromising dedication that identifies the true avant-garde artist.

Each recipient receives a commemorative box that contains original art works and mementos created by some of the 40 winners. Each year the box,includes booklets, bios and  original works of art and ephemera. Previous boxes have contained a signed and numbered papier- mâche potato by Hapi Phace, a sculpture by Tom Otterness, a handmade book by Edgar Oliver, and other specially-created art works.

Flanking Clayton Patterson's stage presentation was the celebrated Phoebe Legere,  musician and multiform artist, serving as MC of this event that had elements of spontaneous combustion. The energy of the artists and the audience was palpable, immediate and free spirited.

The evening was laced with impromptu performances, witty and insightful comments from Phoebe and Clayton, with an air of celebration in understanding that this event helps create and maintain community among a wide range of arts and generations from young and aspiring to venerate veterans who have established identities and domains through many struggles and challenges.

Many in the audience were former winners of the Acker Awards, suggesting that Clayton Patterson's vision of establishing a strong sense of community through the awards has become manifest,  It is a monumental achievement to put together these awards, prepare the  commemorative boxes,  hire a hall, advertise and stage the event. Kudos to Clayton Patterson.

Even more impressive of this community of village artists is the diversity of practices, preferences, and artistic collaborations/creations spanning almost seven decades of explosive creativity. At one point when Lincoln Anderson and his work with The Villager was announced, Clayton took a moment to remind us that the Villager is on-line, and that its presence on the Internet makes it equal to all other publications in visibility. He noted that this publication is a record of the work of the community, urging that everyone add to the record by commenting on articles and postings.

This was an awards evening worth noting for the city, for the artists represented by these awards are carving out new terrain that resonates with change and the creation of new work.

ACKER RECIPIENTS 2017

COUNTESS ALEX ZAPAK, "POLITICAL NOTICE"
NANCY WOLFE  &  ETHAN MINSKER, "2016 VIDEO OF CEREMONY"
NATANIA NUNUBIZNEZ,  "CARTOON ILLUSTRATOR"
SARAH SCHULMAN, "ACTIVIST PLAYWRIGHT"
CARLITO CASTILLO, "ART & SCIENCE OF BOXING"
FRIDAY JONES, "TATTOOING"
MICHELLE MYLES, "TATTOOING"
MARI-CLAIRE CHARBA, "THEATER ACTOR"
MARILYN ROBERTS, "THEATER ACTOR"
BARBARA KAHN, "THEATER ACTOR"
LOIS KAGAN MINGUS, "THEATER ACTOR"
CHARLES SCHICK, "ART"
REGINA BARTKOFF, "ART"
FELICE ROSSER, "MUSIC"
CHERYL PYLE, "MUSIC"
EDEN BROWER & JOHN HENEGHAN, "MUSIC"
LINCOLN ANDERSON, "COMMUNITY MEDIA"
LUCKY LAWLER, "COMMUNITY MEDIA/ART"
CHARLES MINGUS 3RD, "ART"
THERESA BYRNES, "ART"
LESLIE LOWE, "ART"
VICTORIA ALEXANDER, "ART"
AGATHE SNOW, "ART"
ANTONY ZITO, "ART"
JANE DICKERSON, "ART"
ISTVAN KANTOR, "ART"
JENNIFER BLOWDRYER, "WRITER"
SHELLEY MARLOW, "WRITER"
MAGIE DOMINIC, "WRITER"
VERONICA VERA, "SEXUAL EVOLUTIONARY"
CANDIDA ROYALLE, "FEMNIST PORN GENRE"
TOYO TSUCHIYA, "PHOTOGRAPHY"
JACKIE RUDIN, "PHOTOGRAPHY"
MARY CAMPBELL & VIV VASSAR, "PERFORMANCE ART COLLECTIVE ORGANIZER"
WENDY SCRIPPS, "COMMUNITY SUPPORT"
CARTER EMMART, "SCIENCE"
COUNTESS ALEX, "TRANS MEDIA STORY TELLER"
ANNE HANAVAN, "VIDEO"
KEITH PATCHEL, "COMPOSER, PRODUCER"

YET ANOTHER RENAISSANCE...

Just when I thought that for me at eighty there were no more rebirths of imagination... no bursts of creativity, I am awaking to a new world and noticing the beautiful sounds, the beautiful moments that need to be stamped with the permanence of celebration by turning Time into an ally of preservation. We have the capacity to capture Time in the bottle of creation, transforming the moment into an enduring presence.

KEITH PATCHEL'S NEW OPERA PREMIERES AT MEDICINE SHOW THEATRE

Keith Patchel's new opus, The Plain of Jars, based on a novel by the same name, premiered at The Medicine Show Theatre December 10th. This performance was a significant cultural event that should be noticed and honored, if only for the spectacular talent involved in the production that was created from scratch over a 12 day period. If Rossini remarked that it takes "about 21 days to make an opera," making this new work sets a new record. Patchel's work defies classification, as it might be described as a docudrama, musical play, or opera.  Patchel's background as a film composer is evident  as he has created a tapestry where the music flows without interruption, sometimes as the dominant feature and other times as commentary on the scenes of intrigue, exploring the motives of political characters and agents involved in the bombing of Laos during the Vietnam War.

The "Plain of Jars" is a garden-of-eden-like place in Laos that was life sustaining  for Laotians, who led a simple, peaceful life until their homeland was used by the US to test new weapons and bombing strategies during the Vietnam War.

Besides the Laotians, the cast of characters includes JFK, played by Robert E. Turner, Nixon, portrayed by Timothy McCown Reynolds, LBJ acted by Jon L. Peacock, and Henry Kissinger, depicted by John Hayden. Patchel's treatment of the characters satirizes them in the light of their criminal and covert actions, with the exception of Kennedy regarded as the hope of change for the direction for the country. Turner's stately and passionate enactment of JFK provided a stark contrast to the political trio who plot the death of Kennedy. In addition to the rich diversity of these characters, two CIA cohorts (played by Sayaka Aiba and Clare Francesca) add to the scheming and deceit, playing a critical role in persuading the politicians to use the Vietnam War to test new weapons.

The Laotians are performed by Sayaka Aiba, Clare Francesca, Jialin Li, and Xi Yang, and their opening scene of the tranquility of the Laotian natives was serenely projected with their melodic lines interweaving and overlapping, shimmeringly mystical. 

The scene shifts to the White House with JFK and the political trio in which the killing of Kennedy to prevent the withdrawal of US troops from Vietnam establishes the symbolic presence of his spirit. Patchel's conception of having JFK portrayed an an African American is an inspired gesture and Robert E. Turner brings a sense of dignity and destiny to the role. It stands in stark contrast to a CIA-directed White House and State Department intent on using the "falling domino" theory as an excuse for the war.

The trio of conspirators, provided a bitingly satirical commentary, and each actor emerged sharply etched as a caricature deeply embedded in a personal grasp of the demeanor and rhetoric of politicians caught in the web of their own deceit. Timothy McCown Reynolds was brilliant in capturing the expressions and blustering mannerisms of Nixon. John Hayden's Kissinger was covertly evil in his quest for power and posterity, a stunning range of characterization. LBJ was indeed "with heavy heart" as possibly the most powerful and reckless of the trio, but traumatized by the enormity of his transgressions against America and Vietnam. Vietnam was a force that spiraled out of control and each response only made matters worse. Peacock's characterization was accurate, revealing a troubled LBJ who could not overcome his own tragic flaws.

There are two extraordinary scenes that seem to transcend the structure: a "Death Dance" danced by Robert Turner, Cantata Fan, and Sayaka Aiba, an eloquent gesture mourning the death of Laotians. This was a powerful moment, abstract but also immediate and irrevocable.

The concluding scene of the opera is the final aria of Gaia (Yang Xi), a powerful apotheosis of the Laotian pride whose survival in the world exacts a justice, a redemption for having endured the slaughter of innocence. The pride and purity of the Laotians remain untouched. The aria begins in the symbolic demise of Kissinger, Nixon and LBJ entombed in the giant Jars of the Plains. The music celebrates triumph of Laotians over evil. In many ways, the structure of the work is a series of climaxes, each surpassing the previous. Yang Xi's musical sensibility and strength of interpretive expression uses her remarkable voice to shape each nuance and climax demanded in this powerful and expressive aria.

Patchel's music unfolds as a continuous tapestry of sound embellished by live instruments performed by Kento Iwazaki (Koto), Cantata Fan (Pipa), Alan Gruber (violin), and the keyboard manned by the composer. Their presence as a substantive texture, provided an unfolding spontaneity.

Adding to the ambiance of the evening was the wonderful set created by Alexis Kandra, simple, but enriched with the nuance of an primeval space invaded by the technology of 20th Century war... the giant jars on the Plains ultimately serving to entomb Kissinger, Nixon, and Johnson, indicted for their crimes against humanity.

A highlight that must be noted is Clara Francesca's solo "This is the only war we've got..." Her performance was powerful, Brechtian, yet bitterly poignant, confirming the opera's pervasive tone as satire. Perhaps the strength of libretto is the tension between the gentle presence of the Laotians and the sharp, caustic satire enacted with such brilliant individuality by Reynolds, Peacock and Hayden. 

The Plain of Jars theatrical premiere created an unforgettable quality for New York City on December 10, and 11 by bringing to our attention a regrettable and shameful time in American history.  The opera focuses on the violence in Vietnam and the culpability of the United States. Even though video footage of the bombing and violence in Laos was included in scenes, the libretto did not explore the atmosphere in this country that was violent, explosive and cruel, with riots, demonstrations and killings of innocent protestors.

Patchel is to be commended on creating a work that reminds us that Time does not erase such moments, but elevates them to renewed significance as we discover new meaning ifrom events of the past.

SEVEN FOR NINE ELEVEN

Songs of Sorrow,

      Songs of Hope

       Seven for Nine Eleven

                I.

September morning---

 Clear and calm …

 Streaking, screaming jets

 Collide with the crisp serenity,

 Crushing the dreams of thousands

 Of world citizens

 In one prolonged

 Agonizing instant---

 Altering perceptions and events

 In a tangle

 Of terror,

 Toppling towers,

 And barbaric entombment

              II.

 All the fallen heroes

 Rushing to rescue

 Innocent victims of violence…

 Trapped between their selfless bravery

 And fanatic hatred

 Focused on annihilation

 Of all hope and happiness…

Gone in the momentous collapse

 Of monuments and unsung miracles…

 All the fallen heroes,

 Mourned and remembered,

 Forevermore.

             III.

Bewildered with rage 

 And weeping,

 We gather and huddle

 In streets and parks,

 Embracing strangers, 

 Posting our private grief

 On walls and chain-link fences…

 Coming together in the spirit 

 Of ourselves

 As though this magnitude

 Of love

 Could stifle and smother

 The animosity,

 The atrocity,

 That has befallen us.

            IV.

Weep, world…

 Many lost their lives today.

Weep for clashing cultures

 Exploding on the world.

 The eleventh of September

 Collides with human destiny…

 Ending all innocence

 And immunity.

Weep, world,

 Weep in sorrow…

 Many lost their lives today…

 Yet, beneath the smoldering debris,

 A new spirit struggles to erupt.

              V.

 A fragile experiment,

 Begun in a time

 When humanity defied tyranny

 And sought a sanctuary

 Of liberty…

Once begun,

 There was no assurance

 It would survive…

Even now

 Tyrants and barbarians

 Threaten the frangible frame of freedom.

             VI.

 We will not die---

 There is a gentle presence

 That gathers strength 

 In our awareness---

 Through all the adversity,

 Through all the tears,

 Through all that perished

 On that frail September day,

 We find the substance

 Of ourselves

 Embedded in all who have gone

 Before us…

 Grasping intangible threads 

 Binding us...  

 

            VII.

 Celebrate the loved ones

 We have lost…

 Celebrate the right to sing

 Of one another…

 Cherish the links

 Connecting us…

 To dare to dream,

 To seek to hope,

 To make festivals

 Of images and sounds

 Leaping like magic

 Across an electric consciousness

 Like shooting stars

 Across the cosmos 

 Confronting chaos 

 With the simple song of ourselves.

© Copyright John Gilbert, September 12, 2011, 
ALL RIGHTS RESERVED

AUTUMN IN NEW YORK--- A YEAR LATER

September, another Autumn in New York. Jerome had started walking north from Washington Square Park. He had started around 4 p.m. after meeting his friend George in the park. They sat in the park where George had seen his "butterfly girl"and the whole experience seem as vivid as a year ago when he became obsessed about finding her. Suddenly seeing her at the ferry had bolstered George's spirits, but his hopes were dashed when he saw her on the dock as the ferry was pulling away. So near and yet never meeting.

Jerome felt George's angst. George could not let go of the vision of the stranger in the park as a butterfly flew around her head and landed as if by command on the book the woman was reading. He felt that karma had teased him and cheated him.

Jerome found himself in Chelsea and suddenly felt a tinge of Déjà vu. A year ago he had walked this area, strains of Autumn in New York playing in his head:

Glimmering crowds
And shimmering clouds
In canyons of steel
They're making me feel, I'm home...

But this year it was different. There was no celebrating of first-nighting--- only the bittersweet feeling of joys past and emptiness ahead. No more renaissances he thought... You've gone to the well too often, and now Time betrays you.

Even so, there were new melodies that lingered, and lyrics that tried to penetrate the hard veneer that clung to him. For Jerome, September was always the end and the beginning.

Autumn in New York
Is often mingled with pain

Jerome felt the pain. That was the yin and yang of September, the sad/happy, bitter/sweet reservoir of feeling and perception, the ultimate quest that gave him the energy to overcome impediments to his work. 

His work. What was that exactly? Some cryptic destiny. He could think of his action only as process, a means of engaging Time to make something tangible, authentic...wonderful. It could be anything, as long as it was wrought from emptiness of Time and Space and placed in the continuum of so-called reality, whatever that is. It could be a poem, music, painting, a chair, a feast, an equation, a story, or just anything that might be pulled from the empty terrain through an encounter with Time. Something created in and through Time became something substantive, something that might endure, a somethingness as opposed to nothingness.

There had been decades of triumphs and defeats. His road was always rough, with terrain that at times seemed impassible. He felt the despair of emptiness, and wondered if the Muse had deserted him. In some ways, his life had been in pursuit of THE MUSE. He remembered the many lost works as the result of such carelessness and disregard for history. Now decades had passed, and his sense of loss overwhelmed him into silence.

Not this far. . .I never knew I would surviveBeyond a barrierSelf conceived and self imposedSo long agoThat empty pages found a wayTo mock my delusion,Imitating the nothingnessOf anticipated emptiness.Now these words . . .I never knew I could reviveAn unknown continentRemembered, yet emergingSo far awayThat silent chambers now resoundTo shape a new perception,Celebrating the resonance . . .Restoring such abundant songs!

Now as he walked north the Chelsea, the creative energy seemed to drain from him, and he was confronted by a sense of doom. The very thought of impending disaster seemed too melodramatic for him. He knew that he just needed to engage. But he also was plagued by the fear that his mental capacity would dissolve into anonymity... a new malady of the twenty-first century. He smiled as he thought whatever work might survive would be anonymous.

MULTIMEDIA OPERA ROTATION BEGINS A NEW LIFE WITH OFF BROADWAY PRODUCTION

ROTATION performed its final Off Broadway tryout in BlackBox Theatre on Washington Square on Sunday, August 9.  This multimedia opera by John Gilbert was premiered in 1969 and was included in Stewart Kranz's epic 1971 book Science and Technology in the Arts. The work is decidedly contemporary in tone, eclectic, but also distinctive in achieving a personal style in Gilbert's libretto as well as his music. Besides the convincing and expressive musical performance, perhaps the most distinctive element is the extraordinary production directed by Clare Hammoor and choreographed by Lisa Naugle, with media created and mounted by installation artist Diarmid Flately, including special images by Evelyn Walker.

ROTATION features an extraordinary cast of five singers and two dancers. According to his Manifesto written in 1968, one of Gilbert's goals for this work was to achieve independent theaters of text, music, action, media, and dance which interact in a dynamic fluctuating context. In his program notes, Gilbert notes that the setting is something like Greenwich Village in a distant or timeless future. As one of the characters, Julia, observes, "This is a very strange place."

The work begins with a quiet opening in which the dancers create the space that is quiet and contemplative or comic and dazzling, a magical but ordinary setting that seems to be waiting for something. The Critic, sung convincingly by baritone Suchan Kim, lays the groundwork for what is to follow by sharing with the audience that he knows everything and he will guide them with his keenly analytic mind.

As the Critic exits, Merculian, played by veteran opera performer and song stylist, Ulrich Hartung introduces himself to the audience as Merculian the Merchant selling his "odds, and ends." Hartung possesses a strong classic presence, and he communicates a wisdom always couched in a sense of humor that he shares with the audience.

Lost and seeming to wander into the space is Julia, a runaway who first is at odds with Merculian, but accepts him as merely an old man with a cart of junk. Played by Julie Song, Julia is an innocent who searches for some meaning for her life by discarding her past. Ms. Song has a very clear voice that  is sometimes quite intimate, but also often projected a commanding and strong resonance.

With commotion and screams of "Merculian, what have you done with it!"  renowned opera diva Oksana Krovytska,  erupts upon the stage as Cassandra, the Witch, and Merculian's companion and collaborator.  Ms. Krovytska's voice is rich and vibrant. Although she usually plays the more dramatic diva roles, her experience and insight fashions a comic role that could become classic. The collaboration of Hartung and Krovytska create Merculian and Cassandra as a quintessential paradigm, vintage and primal. At times, Hartung achieves a Hans Sachs grandeur, while Krovytska creates the realm of a witch with compassion, humor, and understanding. They perform some remarkable duet passages and imbue the setting with a sense of mystery and discovery.

Christopher Sanfilippo, tenor, suddenly interrupts the mystique of the moment as he struggles with the Critic who has stolen one of Brian's poems, and begins to read it mechanically. Brian grabs the poem from the Critic who sneers, "Can You Do Better?" Deliberately reminiscent of the scene in Wager's Die Meistersinger when Walther sings the prize song,  Brian sings perhaps what might be regarded as the only full-length aria in this chamber opera.  Sanfilippo's passionate delivery reveals a voice with rich texture that includes elements of contemporary musical theatre. His sense of pace and shaping the climax was impressive. Sanfilippo revealed strong acting background in manifesting a deep sense of humor while in the midst of extremely dramatic moments. His comedic work helped reinforce Hartung's tragicomic eloquence.

In general, the musical scenes, ensembles, solos are truncated and interwoven in an intensely intimate tapestry of interaction with dancers, and media directly engaged in the action or sometimes commenting, or entering and leaving in contrapuntal fashion.  Every character has distinct moments, but the work is rich with miniature duos, trios, quartets, double duo's laced throughout the work.

Flatley's media is abstract and painterly, but often with a stunning presence of a "universe uninvolved with us."  Evelyn Walker's added images are evocative.  Flately has created a multiscreen texture requiring precise image projection and timing. Into the abstractions, Flately captures the action unfolding onstage and projects it to different screens in the theatre, an extraordinary technical effect.

Hammoor's direction is deft and pragmatic, creating moments for characters to grow into the action and blocking.  His setting is functional and comedic, allowing ample space for the media while maintaining a careful balance with the physical presence of objects and set pieces. An added touch is The Young Boy played by Nathan who mysteriously moves in and out of the fantasy.

Naugle's choreography is evocative, and perhaps the most critical and difficult of the separate theaters acting independently. Dance is the one constant that never changes in terms of presence and requires continual attention to details of consonance and dissonance. Theoretically, this presence can interact with the actors and action, and with more time they might have achieved greater cohesion. The dancers, Tal Etedgi and Jacqueline Shannon, weave a tapestry of mystery and coherence, as they establish their identity as the gatekeepers.

There are several highlights worth mentioning: a masquerade scene led by Cassandra and Merculian to seduce and persuade the hapless young couple ending with the explosion of a perpetual motion machine, and a stunning climax to the opera in which the characters sing the quintet "We Require the Masks." In this moment this disparate group of characters bond into an ensemble powerful, eloquent, and memorable.

The star of this opera is the music. Musical Director and Pianist Stella Chiashan Cheng led an inspired ensemble of Zack Hicks (fl/cl), Jordi Nus (vln), and Jiafan Shi (vc).  The original score included analog tape cues which have vanished. Synthesist and Audio Engineer, Tate Gregor recreated the tape cues in consultation with the composer.  The instrumental score was arranged by John Russell Gilbert, assisted by Sean Shiwon Kim and the participating instrumentalists.

Stella Cheng's musical direction was rich and insightful and extremely responsive to the many changes in tempo, dynamics, and emotional range. Given the context and limits of this Off Broadway trial run, the result was a rich and powerful musical event.

ROTATION explores the meaning of life with humor and skepticism, but also with passion and verve. It is highly compressed with all the elements of grand opera on an intimate scale. The work is also about energy and recycling, and the adventure of discovering who we are and who we might become.

                                                                                           ... George Grisham

Recovering

After a long drouth, I wonder where I lost the way. As I awake, so many things are going on that I am bewildered by the activity. I hear myself saying things as though I was overhearing me from the next room.

There is so much activity. There is so much energy from around the world, gathered into this place. When I was last here, in the shadows of Wizard Ways , I was writing stories that had begun a year ago after IMPACT 2015 started to dissolve, and I recovered from a deep silence inspired by the vision of a new discovery, a new awareness. In that space, I felt the connection to the source of all creating, coming out of the silence, from the zero state to indescribably incandescent decibels of beauty.

But then I started to disappear. Becoming invisible was a slow journey out of myself. Although I had many stories in my head, none of them could find their way to my fingers and the keyboard. As I looked in the mirror I noticed I was fading. There were the poems that called to be published and I had a favorable experiment on FaceBook, creating poems in the fiery chaos of a rhythmic shift that reverberated with a deep and infinite shudder, an echo of the universe erupting into being.

Phaedrus stood in the shadows and watched, he strode the corridors of silence and listened.

There was the miracle of concinnity, the mingling of gathering energy that would propel an emerging vision of our immediacy in this moment of the world.  In the fading days of summer, our intuition seemed to engage a new awareness of who we are and how we make the quality of discovery become a shared reality.

THE PRINCE OF BLEECKER STREET

For years Jerome had noticed a gypsy-like figure that he thought of as The Prince of Bleecker Street living in a natural habitat located near the corner of Bleecker and LaGuardia Place in Greenwich Village.  This habitat preserves the terrain the way Manhattan was before settled by Europeans, and in some cases, even before the Lenape Indians became the inhabitants of Mannahatta. The ancient setting was clear and pristine with a grandeur that some say rivaled the wilderness and beauty of Yosemite National Park.

Now the pristine wilderness is cement and asphalt. The Prince of Bleecker's palace is a tarp attached to a sprawling fern tree, where he sleeps and keeps his stash of necessities.

Most of the time the Prince presides at the corner of Bleecker and Laguardia Place, sitting outside the supermarket while reading the New York Post. He is constantly doing his "researches," working for the Secret Service and the CIA, or so he claims.

One day Jerome  learned the Prince came from Peru where he was known as Delphin Blanco. Delphin calls himself the White Dolphin. He has ruled his Prince street domain for a decade. He is almost indescribable: an ancient patriarch, a gypsy, ageless, often wearing bright red tunic, bearded and with thick braided hair that is longer than his height when he stands about five feet four inches. And of course, a pipe that is fragrantly ancient as he puffs and reads.

He maintains that one day he will return to his mansion in Peru, but not until his work is done. Jerome asked what that work was and he replied in a low voice and heavy accent "top secret researches." The Dolphin speaks with such conviction that you have to believe in him on some level... at least on the level where he believes himself.

One day he said to Jerome, "I live high in the mountains of my country overlooking the Pacific. My mansion is made of marble, and I continue the traditions of the Incas, my ancestors." He lowered his voice.  "There are many mysteries in the world, my friend. My ancestors are from the stars. We are the stuff that stars are made of.  Someday, I will return to my star home. That is the legacy of the Dolphin."

So the days went by and the seasons passed and Jerome would see the colorful Prince sitting and reading, smoking his pipe, and talking to curious young people who were fascinated by the White Dolphin who seemed to have stepped from a book of fairytales. Occasionally, the Prince would disappear for a few days and then enigmatically return.

At one point, Jerome started to speculate that perhaps the tarp was a time warp, a space portal that the Dolphin would use to travel through space and time. He knew it was absurd, and yet the "Prince" had an air of other worldliness about him that was intriguing.

The Dolphin mysteriously came out supporting a conservative political candidate who was extremely wealthy and hated by the liberal establishment. Almost immediately the sanitation department and the police department descended upon the Prince's palace and began to harass him. The sanitation department  gathered up his newspapers and discarded them as trash, but strangely although they hassled him, the police refused to evict the Dolphin as a homeless vagrant.

But the glare of publicity was on the Dolphin. The Post interviewed him and published the interview with photos which strikingly confirmed Jerome's impression of the Dolphin as the Prince of Bleecker Street. The Dolphin claimed that his support of a conservative candidate had prompted the mayor to go after him as a political enemy.  Jerome was puzzled at the amount of attention given to this gypsy vagabond who lived off the land and somehow managed to escape the label of a homeless derelict.

Then  months later, the Dolphin disappeared. His domain remained intact, but the Prince of Bleecker Street was nowhere to be seen. Jerome was worried. Autumn faded into winter, and snow blanketed the Dolphin's tarp domain. The winds buffeted the fern tree, and on occasion the Prince's domain lay buried in snow drifts. Jerome became so alarmed he pulled back the tarp during an especially cold wintry siege, dreading that he might discover the Dolphin's frozen remains. What he saw was a strange device almost buried in the snow, an artifact that might have been an amulet, bullet shaped with fins, but looking ancient and faintly glowing. He was tempted to retrieve it, but he felt almost paralyzed and afraid to move. A blast of wind forced him to lower the tarp and withdraw.

As summer approached, Jerome saw his mystical monarch walking along Bleecker as though he had never been away.

Jerome was stunned to see the Prince looking quite regal, his colorful demeanor now sported a multicolored knitted sleeve that encased his body-length braids like a kaleidoscopic tail. He seemed younger somehow, inscrutable and radiant.  Even his pipe seemed different, oddly reminding Jerome of the amulet he had seen in the snow.  Everything about him seemed different as though he had gone through some mystical metamorphosis.

"Dolphin, where have you been?" Jerome asked. "I was worried about you."

The Prince smiled. "I am doing my work, of course... my researches."

He paused and pulled on his pipe. "Never worry, my friend, the Dolphin is always secure in his legacy... there are many mansions in my domain... but I am always searching for the next adventure... There is always something waiting for me... There is always my researches..."

He reached into his pocket and pulled out an amulet looking very much like the one Jerome had seen in the snow. He handed it to Jerome.

"Think of me when you look at the stars."

Jerome never saw the Dolphin again.

A PERFECT MATCH

Mabel was extremely happy. She had found Ralph, and they were a perfect match. One might say they were a match made in heaven, but not exactly. She had gone through so many relationships over the past decade that she had begun to despair. But then Ralph came a long. Well, he didn't exactly come along. She met him through a computer matching service online. It had been all so simple that she wondered why she had waited so long to try the computer matching approach.

Now everything was perfect. Well, not exactly perfect, because Ralph was married and had a son and a daughter. He was about ten years older than Mabel and in the middle of a divorce. He needed to keep his relationship with Mabel secret until the divorce was finalized so his Ex couldn't use that against him in the settlement. This was annoying, but everything about Ralph was so perfect that she convinced herself she didn't mind the secrecy. 

Mabel didn't look like a "Mabel", (not really sure what that means, except it's true). Her parents were in the maple syrup business in Vermont and picked "Mabel" because it was like maple music to their ears. But all of her life, Mabel was yearning to be a New Yorker---a true New Yorker.

Mabel appeared statuesque, perfectly proportioned, although she was only 5' 9". She could have been a Rockette if she were taller because she could dance with the best of them. The first week she came to NYC, she went to an open audition and won a spot as a dancer in a Broadway show. She thought this would open the door to many male companions. She quickly learned that the male dancers in her show were not available because she wasn't the right gender. 

Mabel tried speed dating because she was in a hurry to find a guy in the Big Apple that could keep up with her life style. She met many guys that were looking for a hot romance, but really had nothing much to offer in a lasting relationship. After almost a decade of losers, she decided to try APERECTMATCH.com. That's how she met Ralph.

Ralph was a lawyer, very distinguished but low key. He was senior officer and partner in a small firm. He was smart, very methodical, and had a routine for every facet of his life, from making coffee to working out. Mabel loved routines as a way of managing time. In a way, it was also a way of managing Ralph.

Ralph was physically fit and worked out regularly, which was a priority for Mabel. She liked to run along the Hudson River almost every day. Her work as a dancer kept her "lean and mean"--- always ready for action. 

The one factor on the matching scale most important to Mabel and Ralph was a vigorous physical relationship. Ralph was not especially handsome, but he was rugged and very strong. On their first date for dinner, they could hardly finish the meal. Their relationship started with a bang, one might be tempted to say. Ralph was experienced, strong, and in control, but deeply considerate of Mabel.

But now the days started to drag by as Ralph's continued negotiations with his Ex. It had now been two years since Mabel and Ralph met, but the divorce settlement was still in progress.

Mabel noticed that Ralph seemed to be texting a lot lately, and it didn't seem to be to her. He still was attentive, sent texts to her for liaisons, and their physical relationship continued to flourish.

But something seemed different.  Not that Mabel was less committed, but she wondered what was going on with Ralph. He seemed ready to commit, but was so slow in finalizing and going to the next level.

Out of a premonition, she decided to create a new profile for herself as Mandy on MATCHMAKER.COM. She submitted photos she had in her phone of a girl she had met from Maine. They actually looked very similar, so Mabel didn't think it was really that misleading. Also, this was not really a serious commitment, just testing the water. She thought to herself that the computer matching had worked so well, why not have a backup now that Ralph seemed to be dragging his feet?

Much to her surprise she found several matches, but one that matched her even higher than Ralph. His name was Randy, and he was a sports professional, a personal trainer in a nearby gym. For several days, Mabel agonized over whether she should contact Randy.  However, Ralph, although attentive and continuing to be an exciting lover, seemed a little distracted. After these two years, Mabel had fully expected to be wearing his ring, and making wedding plans. But there seemed to be no real movement toward that expectation.

Through the matching service, Mandy and Randy agreed to meet on Thursday for a late lunch at Rock Center Cafe in Rockefeller Center. This worked well for her because she had a 7 p.m. call for her show. It was a crisp October Day, and Mabel arrived early. She was surprised to see that ice skating had already started in The Rink at Rockefeller Center. She took some photos with her smartphone and posted on FaceBook. Even though she was early, Mabel walked through stores, including Saks Fifth Avenue across the street. She decided she would arrive fashionably late. She didn't want to appear eager, but she was curious to meet her match.

Finally she took the street elevator to the lower restaurant level. She told the receptionist she had reservations. She was getting very excited. Her heart was pounding. The receptionist led her to a table looking out on the rink.

Mabel suddenly was stunned as though someone had slugged her with a baseball bat. Her knees buckled.

"Ralph?"

"Mabel?"