Page 1

THE INPEX ABDUL LEAVES IDOL FOR DANCING WITH THE STARS!

Edition 1; Issue 2

Tuesday, August 11. 2009

Table of Contents p.2 EDITOR’S WHITEBOARD: Emma Kim Hagdahl: Hype It Up and Plug It In Instant Architecture p.3 NEWS: Travel and Leisure: Tor Lindstrand on Le Corbusier and Baker Business: Niklas Lundell on Way Out West Festival The Metro Section: Will Rawls on WWYLMBG?

p.4-5 CENTERFOLD: New poetry: R.I.P. Dance by Maureen N. McLane

COLUMN: Mårten Spångberg on Rock ‘n Roll

Advertisement: Tuesday Night is Fight Night

INTERVIEW: Jessyka Watson-Galbraith meets David Hernandez

p.6 LIFE/DEATH: Louise Höjer on custodians

p.8 MISCELLANEOUS: Kroot Juurak: Script for Small Talk

Book excerpt: Random Moonwalk

OVERHEARD IN VIENNA…

ALMOST FAMOUS

LOCAL NEWS and CALENDAR p.7 REVIEW: Jessyka Watson-Galbraith on Bad Co.

SCORES: Will Rawls on Famous Last Words

Egle Obcarskaite on Length

OBITUARIES The Swedish Dance History Photo: Will Rawls


2 THE INPEX

Tuesday, August 11. 2009

Hype it up and plug it in What are we afraid of? Sharing is what I would like to write about.Thoughts on generosity, courage and change.

THE CENTERFOLD GUY

EMMA KIM HAGDAHL

Two months ago, The Pirate Party (Sweden) was elected a seat in the European Union. I would like to write about how the dance field can benefit from other peoples fame and success both on a micro and a macro perspective. How this success and renown carry the potential of opening up territories that other practitioners can continue to expand. This can eventually lead us to other discoveries and unknown territories. The question is only how and why some practitioners in the field cannot see these possibilities and benefits, and instead insist on closing the door, alone. If it is renown they are after, why don’t they open it, let us in, and have a glass together? It has been said many times, but it is an interesting phenomenon worth repeating, how Beyoncé Knowles benefits from all appropriations of the dance from the video of “Single Ladies”, no matter what quality, style or preciousness they have been made with, they empower her, strengthen the image of Beyoncé. It is good for her. Why don’t we hype each other

up a bit and see what happens? Why don’t we all make our own versions and dance together? It is a new time now. Just by looking at all the new interfaces on the Internet, sharing is the mainword, we can use to produce work together and be faster, louder, clearer. It is not initially a legal matter that needs to be discussed, but rather how we can insist on working differently in order to break habits, so that we can think together, or at least be generous with knowledge so that it can take new turns and take us by surprise. Wouldn’t that be nice? We have to stop being afraid of being out of control but instead enjoy it out there in the dark, emptiness, or perhaps fullness of not knowing. In striving for invention, the new is perhaps interesting. Just as long as we do not recognize the new, if so then we are definitely too late and rather pathetic. On the other hand, if we don’t recognize it, then we will definitely miss it. So lets move on, pull out the benefits, discuss and ride the waves together.

Tim Etchells’ ‘Tuesday Night is Fight Night’ is a one page advertisement announcing a night of strange, cryptic, amusing, brutal and imaginary events and interventions for Vienna. Part of an ongoing series of pamphlets, posters and programmes for virtual events in different contexts Etchells’ work explores the performativity of the printed page, the possibilities of language to summon or evoke actions and the ‘theatre’ of the contemporary media-space. Tim Etchells (1962) is an artist and a writer based in the UK. He has worked in a wide variety of contexts, notably as the leader of the performance group Forced Entertainment and in collaboration with visual artists, choreographers, and photographers. His work ranges from performance to video, photography, text projects, installation and fiction. His first novel - The Broken World - was published in July 2008. He is currently Legacy: Thinker in Residence at Tate Research and LADA. For more information see: www. timetchells.com

The Mechanism of Celebrity LETTER FROM THE EDITORS

Tick tock, as we take stock Of these shocking days of zip zap zop Tumbling down from the top Comes Merce, Pina and the King of Pop Rocks and flowers, simulated showers And all her post-war Germanic powers Tossed the hair and got somewhere Where’s the music? Lights up, dance. Leggings, twist, curve The neverland, the perve Kanye at PS122? Who is hip in dance, now the top three are through? Everybody’s, PAF and Sarma The dead can pass on their karma Man in the mirror, Thriller He died of pain killa

QUOTES

“STOP ARCHIVING AND START LIVING IT NOW”

The chance of ballet finding a home Is a chance procedure paper, scissors, stone

Glossary for The Inpex EMMA KIM HAGDAHL

WILL RAWLS

smoldering burn slowly with smoke but no flame exist in a suppressed or concealed state treacherous guilty of or involving betrayal or deception hazardous because of presenting hidden or unpredictable dangers tweeted the chirp of a small or young bird. apoplexy informal incapacity or speechlessness caused by extreme anger ensued happen or occur afterward or as a result averted turn away (one’s eyes or thoughts) prevent or ward off (an undesirable occurrence)

THE

INPEX

The Inpex is a free, daily newspaper. Initiated by International Performance Exchange, INPEX, with its head quarter in Stockholm, NGO supported by the Swedish Arts Grants Committee. Vienna, August 10-14, 2009. For more information: www.inpex.se PEOPLE Editorial team: Louise Höjer, Emma Kim Hagdahl, Egle Obcarskaite, Will Rawls and Jessyka Watson Gailbraith Editorial support: Kim Hiorthoy, Anders Jacobson, Tor Lindstrand, Mårten Spångberg and Johan Thelander Design: Kim Hiorthoy Layout: Jessyka Watson Gailbraith Print: Goldmann Druck, Vienna Circulation: 700 Thanks to all contributors. DISTRIBUTION If you want to order copies, please contact: INPEX, Konstnärsnämnden, Stockholm everybody@inpex.se +46 (0)735 465638 An online pdf version will be avaliable at: www.issuu.com/inpex

fiscal of or relating to financial matters solvency having assets in excess of liabilities; able to pay one’s debts able to dissolve other substances circumvent find a way around propogate spread and promote (an idea, theory, knowledge, etc.) widely transmit (motion, light, sound, etc.) in a particular direction or through a medium precarious not securely held or in position; dangerously likely to fall or collapse dependent on chance; uncertain tangible perceptible by touch clear and definite; real pervasive (esp. of an unwelcome influence or physical effect) spreading widely throughout an area or a group of people


Tuesday, August 11. 2009

THE INPEX

3

News TRAVEL AND LEISURE

THE METRO SECTION

FOR JOSEPHINE

Hop on Pop (with a side of pork)

oval cylinder//one could also eliminate the cylinder completely

WILL RAWLS

TOR LINDSTRAND

1. entrance 2. showgirls made up with tattoos sound//one step or pure negro tam tam without music only one negro on stage//one negro wearing a banana tree//3. a modern man and woman + New York dancing only 1 one step holding each other and slowly 4. the cylinder is lowered, Josephine descends dressed as a monkey 5. she puts on a modern dress she sits down 6. goes forward on a podium, sings 7. steps of the podium, sings 8. last solemn song: the gods rise // background meandering sea of Santos and at the end a big ocean liner // words translated on program.

This text is a ballet written for Josephine Baker by Le Corbusier on a trip to South America during the late 20’s. Corbusier had seen Baker perform in Paris and during his trip to the American continent they had several encounters. There are drawings and letters that suggest a romantic relationship. Le Corbusier attended many masquerades. Once on an ocean liner crossing the equator both Le Corbusier and Baker dressed up as clowns. Baker found his costume so amusing that she exclaimed, “What a pity you are an architect, Monsieur.

BUSINESS

A HUMBLE DUDE DOING EVERYTHING RIGHT With the risk of appearing as The Inpex’s number 1 capitalist activist, Louise has again invited some happygo-lucky-business-cum-artists to twist the ideas of authenticity and credibility. Here Niklas Lundell from the Swedish music festival Way out West shares his big business seduction spiel. It’s a love/hate kinda thing. NIKLAS LUNDELL

First, a crash course in festival history: What used to be a drug progressive excursion in human extremities is today a, well, more or less, civilized get together of young and old. The music festival is a massive industry. Punks with cash 50/50 female/male Average 26.9 years old 58% come from outside the region They spend more than 100 / day (+ travels) Way Out West can only to be compared with the most successful sports events held in Sweden. Rights owner What’s the difference of how you work if you have a soft drinks company or produce and sell hockey sticks compared to a festival? Well, we are able to create and change the product to our and our partners needs, in relation to what the festival goer wants. We are a rights owner.

ABDUL LEAVES IDOL FOR DANCING WITH THE STARS!

News from Pasadena California, Hollywood. EMMA KIM HAGDAHL FROM PAGE 1

After seven years with the American Idol jury, Paula Abdul did not get the pay raise that she wanted. Abdul therefore decided to move on, and may instead take part in Dancing with the Stars, and they say that they really want her. However, So You Think You Can Dance want her too and they are having a meetings. The So You Think You Can Dance producer also says very flattering things about Abdul like “I don’t know anyone who has had her experience as a performer, a dancer, a choreographer and a judge. I’ve been trying to get her since season one!” How exciting.

I’d say there’s two types of rights owners: The buy/sell rights dude (picture average Joe in a descent suit) The owner of creativity dude (insert a kick-ass artist here) Which one do you want to spend your time with? We have the possibility to create the product, communication, relations, content, experiences etc as we like – we create possibilities for our partners to get the perfect tools of communication.

You’d make a sensational partner.” Le Corbusier refused to conform to the Beaux-Arts code of expectations. No bourgeois identity play, no Rajah’s turban and brocaded robes. Corbusier either dressed as a convict or a clown. The role of the outlaw and costumes that formed collages announced his affiliation with modernism. As in this quote from his book When the cathedrals were white, published in 1964: “I insist on white and blue striped convict’s trousers and an Indian army guard’s vermilion coat; I find an enormous gold epaulette which I fasten on the left side. No military cap, sir, a white, pointed clown’s hat, please. For colour balance I put on a dark blue sash as a shoulders belt, cut by a gold band. To finish of, three differently shaped spots of white on my cheeks and forehead, to perplex the curious.” So what can we do with this now? What do two arbitrary anecdotes from the life of Le Corbusier and Josephine Baker tell us? That if your work reaches a certain critical mass (if this is for something relevant or not, it doesn’t matter), then everything in your life will be picked apart and scrutinized, either by academics or paparazzi. Or maybe we could think about what would be a ballet score and a costume for the 21st century. We want a piece of you! An open call: If Corbusier could do it so can you! Send in your scores and costume suggestion. The winner will be published and awarded with a unique mask designed by International Festival. everybody@inpex.se

We are building a line up of artists that is significant to the Way Out West identity. We are trying to look at our partners in the same way. We want a strong line up of sponsors. Who is the commercial Neil Young, Kanye West and Fleet Foxes? You may say that is spoiled way to think and act … we should be satisfied as long as we get money in bank, but no – we don’t want no silent partners. I’m very interested in this traditional separation between art and trademarks. When is a company an artist and when is the artist a commercial company? We all create the ways of how we are perceived. If I want you to believe that I’m a rock star I just say I drink a bottle of whiskey every day, if I want you to buy my car I let you know that my car is safe. If there is no border between the sponsor and the artist - to which extent will we let the sponsor integrate in the creative work? How much credibility is there to get? I’d say there is no limit. Effective marketing In a newly presented study on young persons acceptance and response to marketing, advertising and commercial events sponsoring a festival or a concert was third best. Just beaten by word of mouth and sampling. The single reason for this is credibility. MASCOT by Anonymous

Extra! Extra! The East Village was the place to be on July 30th, 2009. It was there that Why Won’t You Let Me Be Great? (WWYLMBG?), a showcase of new performances and videos set to Kanye West’s 2008 album, 808’s and Heartbreak. 808s is 52 minutes of Kanye processing a dingy case of the doldrums following the death of his mother and the betrayal of a lover. At best, the album vibrates with smoldering, electro-hop rancor, at its least enjoyable, it tills the treacherous plain of self-pity. My God sister gettin’ married by the lake But I couldn’t figure out who I wanna take. Bad enough that I showed up late. I had to leave ‘fore they even cut the cake. Welcome to heartbreak.

To realize this production, creator Brendan Kennedy joined forces with “performer of note” [quoted from his business card] Neal Medlyn, and the Catch! Series’ artist-producer team, Jeff Larson and Andrew Dinwiddie. Their love for the downtown NYC performance scene - aided by some hot tip offs from the press - came to a head when Kanye West, himself, settled into a third-row center seat on opening night. Those of us warming up in the wings found out Kanye had arrived because a dancer’s friend tweeted it to one of the performers backstage. Word spread like wildfizzire. The WWYLMG? producers had stipulated that the album would play in sequence from beginning to end. Each performance would bleed into the next for a fluid transition between each piece. However, they didn’t count on the sold out houses, nor the apoplexy of Ann Liv Young. I digress, BRB [<-- I mean to address this to the article itself]... Freshly bruised from the premiere of The Bagwell in Me at ImPulsTanz, Ann Liv Young took on Kanye with a microphone, telling him “If you’re out there,” that she didn’t like album. His work with Common was better. Inspired by the music she rubbed pork and BBQ sauce in her “Coochie pot,” and ate it. She spoke over the entire length of the sound, directing the technician to turn up and down the volume according to her whims. MTV News online says Kanye took it like a man. Sources from the audience say he averted his head in embarrassment or shock. No small feat by Ann Liv. On the third night of the show, after telling Claudia La Rocco of the New York Times to “Fuck off” at least 15 different ways, for The New York Times review calling Ann Liv’s opening night Kanye-grilling a “shtick”, Anne Liv peed on stage. The music ground to a halt, and the only thing that could have ensued did - the next performers added a prelude to their act, involving a mop and bucket. BTW, the other performers were, in order of the album, Justin Jones & Elliot Durko Lynch, Karinne Keithley, Neal Medlyn, Christine Elmo with Michelle Boule and Jessica Cook, Jennifer Monson, [Ann Liv Young], Myles Kane, Varsity Interpretive Dance Squad, Kenny Mellman, Dance Gang (Kennis Hawkins & Will Rawls), asubtout (Eleanor Hullihan & Katy Pyle, Juliana F. May/ May Dance with Anna Carapetyan, Eleanor Smith & Maggie Thom and Neal Medlyn (encore). I caught up with the WWYLMBG? Producers Andrew Dinwiddie, Brendan Kennedy, Jeff Larson and Neal Medlyn only just today to get

their reflections, via email. These are series of independent interviews, not to be read in conversation with each other. Will Rawls: What was the premise of WWYLMG? Jeff Larson: Brendan can speak to this best, but for us at Catch it was about taking our usual curatorial model (group of great downtown artists presenting short work), plugging 808s in, upping the production values a little (bigger space, lighting designer) and see what comes of it. Brendan Kennedy: Based on my interpretation of the Joffrey Ballet’s billboards, we would have choreographers relate their work to a concept album in the pop music world, Kanye’s 808s, in an attempt to try and bring dance and pop music closer together. WR: Why does this format feel like a necessary approach to the dance field/world and why? JL: This format meaning the album format or the group show? (I’ll answer group show, since I know more about that) *promotes community with in the downtown community-expanding that community, too. new intersections between artists who wouldn’t otherwise encounter each other *exposes artists and audiences to performers and performances they would not have otherwise sought out *enables artists to present short work in a relaxed setting--that said, i think there is an expectation on both the artist and audience side that the work is going to be generally strong *affords us the opportunity to present the work of artists we believe in (even though we don’t have the $$$ to do full shows) *offers a satisfying blend of performance event and hang-outand-drink-a-beer-with-your-friends BK: Working in television and pitching TV shows and working on them ,format is key to bring your content to the masses. Not being a dancer or choreographer i feel as an outsider, format was the only department where i could be useful. Bringing several different choreographers/performers together to work on one unified theme is a big deal for the audience. They get to see an array of different dance styles set to music that they already know, even if its just hearing most of the songs in a super market, and those pieces are restricted to a short three minute time thanks to the all ready placed restrictions on pop music. This model is super derivative of my work on the monthly performance show Our Hit Parade, where downtown performers meet the weeks top ten songs and do whatever they like in that time restriction. NM: I’m not sure if group shows in general are vital to the art...I feel like we found a way to make something that often doesn’t work work, which I was very excited about...I think having people focus i.e. giving all these fantastic, brilliant artists an ‘assignment’ was useful, especially since we can all be prone to wandering off on adventures of the mind, which is a great thing, but having something external to grapple with can be really interesting and exciting and I felt like the Kanye album, with its pre-determined format, order and structure, functioned that way... CONT. PAGE 6


4 THE INPEX

Tuesday, August 11. 2009

R.I.P. Dance Dance is dead What. Ever. Dance dead dance my ordinary movement brought me through the day to this specific night where sculptures leaned perpetual in their motion I dare not call dance and donâ&#x20AC;&#x2122;t you either mofo. O what was that two-step moonwalk blackman what was that writhing anthropological thingamajig you claim primates cannot do. Bees do it birds do it letâ&#x20AC;&#x2122;s fall in love or out and dance to that hive full of the sweetest proverbial honey before all the bees die off like dance.

Maureen N. McLane


TUESDAY NIGHT

Tuesday, August 11. 2009

IS

FIGHT NIGHT

THE INPEX

vs People With Little People with No Pride vs People With No Hope People with Nothing vs People With Nothing to Lose Special White vs Black ‘Teen Tag Team’ Event People With Nothing

People With No Common Sense

VS

People With No Trousers

Free BEER, Schnitzel & A Blanket For All Combatants

PLUS City Traders Read Karl Marx, Engels & John Maynard Keynes

The Corpse of an ANIMAL Given Vague Animation & an Appearance of LIFE Thanks to the Movement of SMALL FLIES Within

* A Meeting with NO PURPOSE and NO FIXED DURATION. All welcome. No Latecomers. Now with AIR CONDITIONING.

* IN THE BASEMENT: GLOBAL WARMING Not Suitable For Children

5


6 THE INPEX

Tuesday, August 11. 2009

BIRTH ANNOUNCEMENT/OBITUARY

EXCERPT

Death of One, Birth of Another

Random Moonwalk – Autobiography of Michael Jackson – Computer Generated in House of Nigel Tomm: TAGS, Autobiographies, Famous People, Celebrities, Memoir Diary, Life Diaries, Moonwalk, Biography

Merce Cunningham and Tino Sehgal LOUISE HÖJER

Whilst of course we mourn the passing of Merce Cunningham, we should also see his death as an opportunity. I by no means mean that we should excitedly rush to fill the empty space left in the top tier of dance world celebrity but rather to question the longevity of our work. And even to question the desirability of its conservation. Weeks before he died Cunningham finalized his legacy plan for the ”preservation of his oeuvre.” It includes documentation, digital ”dance capsules”, preservation of sets, props, and costumes as well as a final international tour. But doesn’t this all seem very visual art? A capsule of artifacts will never be able to encapsulate the actual performances? There is talk of 6 Cunningham dancers remaining custodians of the Cunningham technique and culture. People who embody the knowledge who will be able to pass this on to other companies who wish to perform the work. Although the question is if the Cunningham legacy will survive without its founder? I have heard countless accounts from young dancers who have learned the technique, studied and copied the style of movement but who have never been taught anything about the man or the philosophy behind his performance style. Action without thought. I have no doubt that the custodians of the Cunningham legacy, as I have named them, are far more responsible. But will their loyalty persist? This question brings me back to visual art. When hearing of the Cunningham plan, I immediately think of another artist who is quickly gaining celebrity status – Tino Sehgal. He started in dance. In one way never really left it, but rather introduced it to the visual art world. He creates constructed situations, social choreographies, in museums and galleries, shuns the stage. Thereby he has also entered into the economy of visual art. He sells his situations, as if sculptures or paintings…in editions. In avid refusal to produce artifacts in any tangible shape or form, all his sales take the form of oral contracts. It’s an economic model of trust. As of now only Sehgal himself, or a few people in the world who somehow embody his practice and philosophy can install his work. Even if a museum owns his piece they cannot exhibit it without Sehgal himself or someone he approves installing it. I’ve heard time and time again that he has sold out. But rather it is the other way round. He has sold himself in or rather invested himself. He is married to his work. In entering the visual art market he has made a promise to those who have bought his work that it will always be available, that he will always be available. Well either him or me… Yes, I am one of those rare breads who embodies someone else’s knowledge and which in time has of course become my very own knowledge. I have made it mine. He has made it mine. At this stage the economy goes beyond one of trust and becomes one of generosity, on both our parts. Now we are throwing some heavy terms around; trust, loyalty and generosity. Starting to sound almost Sicilian Mafioso. But isn’t it exactly so, but on gentler terms. These new cultural formations start to look a lot like family. And a family that is also somehow a business model. A set of relations that reinstall the principles of family but that function as a business unit. Confusing? Yes. Contemporary? For sure. Exploitative? Hardly. I find the arrangement mutually beneficial as long as I can also maintain my autonomy. So far this seems

to be working fairly well, although not without hick-ups. I don’t know these 6 potential Cunningham custodians but I wonder as to their autonomy. Without knowing anything of the culture of the Cunningham company I imagine that our life models and choices are very different, although at first seemingly identical. I think it may in fact have something to do with how we relate to the art we produce. They are now somehow being asked to perform on the level of the artifacts - as remnants of a past performance. I am of course also a product of the constructed Sehgalian situations I enact. But as these are never performed on stage – I never enter the realm of representation. I perform in the world. I perform myself within Sehgal’s art. I was never and am never at risk of being appropriated. I always remain myself. It’s a situation of mutual respect. Tino, I love you. Merce, rest in peace.

HOP ON POP (with a side of pork) FROM PAGE 3. NM: I’m not sure if group shows in general are vital to the art...I feel like we found a way to make something that often doesn’t work work, which I was very excited about...I think having people focus i.e. giving all these fantastic, brilliant artists an ‘assignment’ was useful, especially since we can all be prone to wandering off on adventures of the mind, which is a great thing, but having something external to grapple with can be really interesting and exciting and I felt like the Kanye album, with its pre-determined format, order and structure, functioned that way... OK, gotta run, but I’m attaching some of the things I wrote to Gia [Kourlas, Time Out New York] below that might flesh this out some... {{>> indent next text <<}}

GK [to Neal Medlyn, July 2009]: Elaborate on how the whole show came together? NM [to Gia Kourlas, July 2009]: When 808s & Heartbreak came out it just seemed destined to have sort of show attached to it. I’ve been into Kanye West, particularly his public statements, for a while, but that album just felt so important and so theatrical. Luckily, Brendan Kennedy came up with the idea that it should be a dance show, like the Joffrey ‘Billboards’ thing. I got so ex-

Michael Jackson dances with an industry. Does Michael Jackson argue across any regret? A vowel attacks Michael Jackson throughout an idea. The abandoned megabyte tries Michael Jackson past the understanding winter. Below an antidote changes the slag. The physiology demands the governor. An incomprehensible species fathers Michael Jackson. Michael Jackson sneaks after any invalid. Michael Jackson fudges. The dual sauce tires a guest underneath the apt coin. The welcome courts Michael Jackson. Michael dodges! Michael devotes an earlier orbital inside a purchase. With a marginal heart waits a musical energy. How will Michael sicken before father Jackson? A circle blackmails an admitted relationship. A chemical dances inside Michael Jackson. Why can’t a fellow estate dodge the circuitry? The plant tears a realm. Michael Jackson rackets the dialect into the understanding adjective. When can a dynamic buyer miss a hypothesis? The permitted misery revolts. Why can’t a telling dominant qualify Michael Jackson? The death despairs. Does Michael Jackson burn a spaced past? The vein reads the leak. The wide bone joins with the fudge. How does a world contrive Michael Jackson? The accepting pork fumes opposite the brigade. Michael Jackson prints the autobiography underneath an urge. Michael Jackson relaxes beneath the smashed gate. Michael Jackson gasps underneath my panel. A truth freezes Michael Jackson. Can the brother cloth orbit? The ordered shade triumphs over a doctor before a home. Michael Jackson glances the cited by the idea and suggested to Brendan that perhaps the Catch fellows might be great to work with to make the show happen as they know so many young choreographers and have skills at putting on shows that involve lots of people. GK: What is the concept exactly? NM: The concept is that the show will flow along like the album, that the work of all these people using this one important-at-this-verysecond album might be a way of looking at downtown dance in a way similar to the Joffrey era folks using those Prince songs. I think we were all pretty uninterested in making a variety show or a showcase of one act after another. We wanted it to be a show. I think Brendan also had the original idea because it’s a very hard album to imagine how to perform, how a high-energy person performs this cold, internal material, and dance somehow, being so non-verbal and abstract, makes something weird and special happen. GK: What were you thinking in terms of curation? what kind of mix did you want? NM: The other fellows might have had other ideas, but I was really interested in people who make at least vaguely dance related work right now. I like dance a lot, I love the way it combines abstractness and movement and performance and visual art and thus wanted people who I feel are making something that seems very contemporary. In the same the way that I feel the album is evidence of a particular high water mark of this very moment, I feel like a lot of these downtown dance makers and performers are the same thing. {{>> end indentation <<}} NM [as an aside to WR re: NM & GK’s interview] SOMETHING ELSE I SAID APROPOS OF NOTHING: {{>> restart indentation <<}}

I feel like the most American thing in the world is to be like, Hey moth-

censorship. The tear bumps Michael Jackson below the automobile. The breach hums above Michael Jackson. His atheist troubles Michael Jackson without the eccentric. The etymology processes the motorway across the eagle. Michael Jackson evolves a paperback below the narrative. Michael Jackson scores Jacko before the degrading wren. Michael Jackson lends the open tennis underneath the national observer. Jacko entitles Michael Jackson in our poison. Inside Michael Jackson declines a campaign. Jacko discharges Michael Jackson against the brand. erfuckers! I’m the best! Today is July 8, 2009!! Fully knowing it won’t be that time later and you will sound foolish but having the hubris and ultimately kind of crazy caffeinated bravery to be completely all-in. Making shows in New York feels like that, Kanye West certainly seems like that, so we’re gonna try to make a show that feels like that! {{>> end indentation <<}}

Brendan Kennedy to Will Rawls (August, 2009): We did get a great write up in Time Out New York. But i believe Facebook and twitter were huge in helping the show sell out, especially the first night. Another thing that works for Our Hit Parade, is with so many performers in the show, they have the ability to instantly create a larger social network that knows about the show. Oh and the fact that Kanye showed up to a show about himself, also helped create an insane draw to the remaining shows. Will Rawls: Why do you think the shows sold out? How did word get spread (press, word of mouth, Facebook etc.)? Jeff Larson: Really good press coverage leading up (TONY [Time Out New York], esp.). I attribute that in part to the fact that it’s the middle of summer and not a lot going on. Once Kanye came it spread every which way--I was amazed at how many people were talking about it on Facebook. Neal Medlyn [to Will Rawls again]: As for selling the show out, I don’t know exactly how that happened... part of it I think is creating a kind of artistic space that is infused with a popular culture energy. I hope at least that part of what happened with this group that curated the show and what happens in some of my own personal other work is that there is an entry point that people get excited about and they come and see things they

An embedded performance banks Jacko near a thoroughfare. Jacko waits for Michael Jackson over a three stunt. The standard astronomy institutes Michael Jackson past the bundle. Michael Jackson grants the employee against the violent trade. The inhibiting empire piles Michael Jackson inside the food. The eccentric ignores the bitter mathematician underneath the ethic. An asynchronous brain spares an ugly triumph. An accent positions Michael Jackson near the basket. (...)

might not otherwise...Other than that, press interest, abetted by the fact that the summer is a dry time for them and thus we probably benefited from having little competition! WR: How did the performances engage questions about “downtown performance in relation to Kanye West’s superstar status? JL: HEAD ON? I mean that was the show, the individual artists would have the most to say about it, and Neal might have an interesting take on this as he does lots of tribute-type shows. Nudity--we’ve never done a show where so many folks had the urge to strip down. I don’t know if that’s attributable to the album, a reflection of the hip hop/pop/MTV culture, the fact the PS [122] likes nudity (maybe they secretly contacted the artists :)) seriously though, it was a puzzle. And I think by the end of the show, Juliana’s piece, for example, suffered in the audiences eyes simply because they were a little done with all the flesh. Interestingly, people tended not to take shots at his superstardom, in their pieces, but rather respond to the song/music more directly. Maybe that says something... BK: I think people were surprised with the Myles Kane remixed video. He basically made the characters in the movies dance to the song that only Myles could make happen. That’s kind of cool to have people change their minds about what dance and choreography can be. And i guess they were “surprised” that some lady ranted about Kanye’s music while playing with her privates, whatever. WR: Which performances surprised the audience and why? - NYC audiences are rather jaded JL: I think Ann Liv still surprises just about everyone, even those familiar with her work. Even though much of it was negative, everyone was talking about her and what she


Tuesday, August 11. 2009

REVIEW SIZE MATTERS JESSYKA WATSON-GALBRAITH

In this review I choose to write through the set. The language spoken during the performance was Croatian and I didn’t understand a word. The dancing was great. At one point towards the end of the show there was a huge roaring sound and one of the dancers morphed into King Kong. Soon I worked out that the sound was coming from a microphone attached to her throat. Evil. She was dressed as a pilot. I see this performance as having three layers. The first was the furniture. Objects that are useful, that you can buy from a hardware store or that you will find in a regular office. The things used by the performers to do things throughout the show. These were the overhead projector, the screen, ladders, a small cupboard, a broom, two chairs, a clipboard and a metal washing line. The second was a mix of Russian and American iconic buildings and monuments yet scaled down to tiny paper models. The performers got them from a small cupboard and distributed them throughout the space. This took about twenty minutes. There was an Empire State Building that came up to my armpit. A King Kong the size of my hand and several mini Charlie Chaplin’s placed next to the mini Pentagon. The Red Square was a red linoleum square about 70mm x 70 mm and there were definitely a few Russian satellites hanging from the washing line. Model paper airplanes were placed in flying V’s across the space. Globes, a little smaller than footballs, with star constellations on them were placed in the space as well. The performers put the models in the space. Each time they went to put something down, there was a physical diversion, as if preparing for a power tumbling routine or indulging in some slapstick nonsense like a double take or a fake trip. The energy was spent on the preparation, once they prepared they would just keep on walking. The ‘real’ was the space that housed the performance. The space was huge, at least 100m long. The per-

formance used about two fifths of the space, the ceiling was at least 30 m high. It is called Hartera, and is a huge abandoned paper warehouse in a valley; 15 minutes walk from the centre of Rijeka. It is built in 1946 and people used to circulate in this space working day in and day out. Through this mix up of scales and significance my relationship to the theatre production is mobilized. My relationship to the space is apparent. No one is manipulating the situation, it is laid out in front of me. The objects are small, I recognize them, but I can’t touch them. In real life a warplane is scary, here it is so cute. The Hartera factory is abandoned, its original story is over and although my story is continuing I am so small within it.

A King Kong the size of my hand On the floor of the stage area, there are the white markings of football fields, basketball courts, tennis courts and other recognizably sports-like line markings. As King Kong roars next to the Empire State Building the same size as him (in the movies he is normally only able to perch on top) two giant footballs UFO’s begin to inflate at one end of the space, one red and one blue. When King Kong calms down, the light fades to an almost black. The balloons lift off the floor. We magically follow them as they float upwards to the ceiling. We look down on the floor, and there are tiny lights being moved into stellar constellations. We have gone from real to magical in such a short amount of time. From being inside a house of economic disappointment, looking at an overview of the monumental material products of the cold war to now feeling like if UFO’s did exist, then this is what they would look like.

INTERVIEW

Fake Friends Who Take You To The Top An interview with David Hernandez JESSYKA WATSON-GALBRAITH

J: What’s your name? David Hernandez J: Ah, alright! Who’s the most famous choreographer? DH: Ufph J: Does it matter? DH: I don’t know if it matters. I think at the moment it’s Merce Cunningham and Pina Bausch but that’s because they just died. But that’s not the way you wanna get famous. J: It’s a bit sad right. DH: Most famous choreographer in the world? Ummm. If I was honest I would probably say someone like Mia Michaels. Because she’s on TV. And that’s what people understand. And I don’t think it should matter. J: Do you want to be famous? DH: Famous? J: I think you are famous already. DH: Well not famous, but known. Yeah, in a certain way I think we all want some sort of notoriety. You know but it depends. That word is very open no? J: Do you think that it is good, if we are in a contemporary field, do you think it’s good to talk about contemporary icons that are already quite established? DH: Sure. J: Do you think by talking about them it gives other people oppor-

tunity? DH: It depends on who’s doing the talking. You know. J: Do you think we should write about them? DH: I think you should write about them, but you should write about other things too. J: Like what kind of things? DH: Well, I guess I can answer it this way. What’s great and what’s awful in Europe is that dance is a market, it’s a business, it’s a market place. Which is great because then there is money for creation, but what’s bad about it, it gets qualified by a lot of politics that I am not sure should have such a strong place in dance. J: What about the politics of friendship? DH: Yeah but politics is friendship, well at least a fake friendship. It’s who you know. Who’s pushing you, who’s selling you, all this kind of thing. J: Do you have a producer? DH: At the moment no. But I had before. And you have different producers. That’s thing in dance. You gotta have more than one. But let’s put it this way. If a group of three or four influential producers come together and decide something’s gonna go. It goes. And I am not sure that should always be the motor as to why work is doing well.

THE INPEX

7

COLUMN

It’s Only Rock n’ Roll (But I Like It) or Keep Expression Out of The Machine MARTEN SPÅNGBERG

In 1989 James Bond and with him every spy lost their jobs. Without a cold war, with no Ivan and only one super power there was no need for a lonely man equipped with pre ipod-gadgets, beyond the law but in her majesty’s service and with license to kill, that with a swift DIY gesture could resolve global conflicts. Times had changed and the spy, who for decades performed the character, the medicine man, to which we could assign complex political realities - as long as James was out there everything was cool - had made himself useless. With 1989 a strong political era came to a grand finale, but a new paradigm was already under cultivation and a new hero was needed: The Artist. Yes, the new James Bond was the artist, or rather the creative superhero always ready, packed with digital interfaces perfecting the versatile performance of neo-liberal subjectivity sipping ice cold Chardonnay at a residency in Switzerland. Indeed, there were no needs for performances anymore. The artist’s life instead depended on the production of anecdotes and the ability to commute between research projects and residency programs. Thus the work needn’t be to any degree original but the individual’s uniqueness was refined in absurdum, who in all modesty of course emphasized that he or she was not at all an artistah. And the word on every ones lips: collective. Collective, my ass! That’s correct, the artists were not to blame but like cattle they allowed themselves into the paddock of immaterial labor. Perform or else, became the watchword, and research the collective obsession. For Christ’s sake, call the exorcist! The researcher like the cowboy is always alone. From time to time he (yes, still male) has a sidekick or even a team, but he is at all times unaccompanied as he goes west – actually or metaphorically – to, after defeating superhuman convolutions, return to display - obsessed with representation - his foundings, may it be precious stones, an unheard of exotic tribe or a solution to an impossible mathematical problem. There was only one Neil Armstrong to a take that small step for man, a singular Steven Hawkins to receive the Nobel Prize. Two, three, five or ensemble is simply not part of effective production. How wonderful hadn’t it been if those astronauts, in perfect Ester Williams style, would have performed that giant leap for mankind hand in hand jumping down onto the surface of the moon. Who on earth decided that humanity’s first choreography on another celestial body should be a solo, when it could have been a trio signed by Busby Berkley. The researcher is today’s conqueror, the explorer that breaks ground on his way West, his expedition to the centre of the world or quest for a panacea. He takes it all for himself and shares nothing, using unmarked bills – like performance -, reenacting the individualized subject with unparalleled virtuosity. His job is to striate smooth space, an occupation that makes him completely detached from political reality (sure, he is also desperate to find external funding), performing an absolutely open - non-interventionist - score conceived by the Chicago School, without an ounce of swing or sway. It is time to turn towards each other and play together. Let’s enter the rehearsal space, plug in our guitars and turn up the volume. Let’s reject ambitions and go for the one and only: GROOVE. Let’s be anonymous like the guys in a heavy metal band and just play our songs – or why not a cover – over and over again. Rehearsal fucks representation - it never turns to the camera - it does it again and again ,sweaty, without shoes - and don’t you dare read barefoot – rehearsal has nothing to do with authenticity. It’s not performance but a kind of disguise. An absolutely obvious disguise where recognition against its will give permission for an affectual productivity. Rehearsal is a parade out of the city onto the steppe, a politically charged movement searching on the spot – a reversed exorcism or craving to become obsessed. Rehearsal reimparts smooth space on the basis of the striated. It is a listening producing an unequal collective, performing an equity, or intensity that insist on a shared subjectivity. A you and me - rock n’ roll knows no or - engaged in a dissensual group improvisation. Rehearsal is about the already started yet not there, departed but not arrived – the possibility to differ from one’s own differing – a vector. A weak spatio-temporal coordination that carries opportunities of recoding – where inside and/or outside is past-tense. Rehearsal is the concept that Agamben forgot, a place or moment’s “vacance” – an affirmative opportunistic, performative open interval productive of the possibility of thinking differently, freed from ambitions – one more time – 1 2 3 4 I’ve always felt a deep affinity for the band AC/DC. Why? I believe it is due that those down-under boogie rockers can be considered a kind of technology. Not in the conventional sense of the word connected to mechanical or technical innovation, but rather because AC/DC somehow defies evaluation on the level of expression, and instead operates as a machine, or a structure, of course producing one or other kind of expression, but still what I listen to is not the song but those fundamental musical structures resonating through their electrical instruments for more than 35 years. For Madonna, Britney and Chris Martin – not to mention record labels – expression is everything. It is the currency of capitalism – the shit you make money from – or in other words the modus operandi of proprietary reproductive economies. Open source can afford to change structures whereas Bill Gates only can afford charity. AC/DC is the type of machine that leaves expression at home, that choo-choo like a steam engine and produce a never ending flow of riff-rock that needs no more explanation than: YEAH! The problem with technology – high or low – when introduced to e.g. choreography is that it, almost without exception, operates on the level of expression, and at best can function as a half decent make-up but never produce transformation. Considering that choreography’s semiotic is comparatively weak, it’s engagement with tech will not just be any everyday make-up, but a supersized-bad-for-your-health mask that restrains the subjects movement capacity and subordinates the expression due the expressed, i.e. technology represented in four colors. And if anybody thought so,

I’ve always felt a deep affinity for the band AC/DC. Why?

there is nothing subversive in this kind of high-tech, nope it’s rather the capitalist run of the mill. Of course, the case could not be different: our technologically advanced friends aren’t collaborating with us dance people to be invisible, they want to perform or show off, but never dance (that’s below their dignity) – but like the webmaster become obsolete, the moment we started blogging we might not just need the computer nerd anymore. So let’s check out the AC/DC model – let’s go structure and do it with a naïve DIY sort of approach – Hurrah it worked! Dance don’t get rich through technology and has more than enough of technique, but hell yeah let’s plug in the guitars – straight into the wall – let’s burn some fuses and add some barbedwire – it is first when dance stops considering technology as an application and incorporates it as any other protocol in a general mode of production that dance will end an era where unplugged has been common place and finally turn electric. For those about to rock, we salute you.

REVIEW A very short review on a piece that was long EGLE OBCARSKAITE

It was late evening on Sunday, when I was made to think about time. The idea of a certain spatiotemporal implosion of our world seemed like some old news, until it suddenly popped up that night in Vienna, Porzellangasse 19. As it was put in the article by Joost van Loon: “Temporality emerges in the shadow of the ever-increasing speed with which we “progress” in an uncertain future”. Last Sunday the question on how relative the notion of time could be, emerged to me while watching in pieces by Fumiyo Ikeda and Tim Etchells. One and a half hours spent at the theatre hall just seemed such a long period of time!

As it was stated in the playbill, the idea of this piece was somehow related to the temporary. Funny, because, at some points, it occured to me these pieces would last forever. The beginning was rather amusing, and the audience was not obligated by the format of the choreography. There was no storyline put from above, just a line of cuts. Each one was shaped in more or less different temperaments. First they were exposed through movement, and then language was introduced. However, it was still not a direct storytelling, it invited interpretation – one could either think up one’s own stories or fable on the suggested cuts, or simply take it as a flow of random, computer generated taglines. The latter did actually make more sense – even book authors nowadays do not hesitate to make the form simple and sentences short. Isn’t that how our mind works?

After an hour of following sequence of short but nevertheless long pieces, my attention was drawn to the audience. Feeling a part of the new society of prosumers, I raised the question: how hardcore contemporary the audience should be, in order to step up and actually intervene, re-direct the line of performance. Especially as they were given a chance. 20 minutes before the show was over, the performer addressed the audience: “Stand up, and go out”. It was the moment of thruth – noone responded. Some of the audience had chosen the “classical” scenario of sneaking out of the performance later in the dark. No, but I loved the piece. Isn’t it fun to think about shifts in time and the helplessness of the audience, experiencing a briliant show, that was 20 min too long?


8 THE INPEX

Tuesday, August 11. 2009

HOP ON POP FROM PAGE 6. did. A number of people who talked to me afterward--particularly people who hadn’t seen her before--said she was very entertaining, which is sort of surprising, in the sense that if you read a description of what she did I don’t think most people would deem it “entertaining”. JL: I think people were caught offguard by how powerful Neal’s rendition of ‘Pinocchio Story’ was--chief among them Kanye, himself. I think people were pleasantly surprised by how smoothly (for the most part) the whole thing flowed from song to song. WR: What do you make of Ann Liv’s and Kanye’s interaction?... Would you call it an interaction per se? JL: No it wasn’t an interaction. An encounter, maybe? Fascinating to the degree that he, for that moment, is part of a captive audience. Unique in that she was the one performer to confront, in a very obvious way anyhow, the artist and his work rather than embrace it. BK: I would not call it an interaction. i would call it an assault. Kanye not having any ability to fight back or comment, or since he was sitting dead center even walk out, made it a one sided conversation. Like a crazy person screaming at you in the streets holding up some sign that reads “pay attention to me.” WR: What is fame in dance? Is WWYLMBG? a way of embodying it? JL: I don’t know that I know what fame is in dance. WWYLMBG? ended up being some kind of encapsulation of a famous person, and maybe people came away with a dif-

ferent appreciation for the guy, or a deeper appreciation of this particular album and what he was trying to say with it? Interestingly, almost every artist chose to work with the music and not against it--maybe that says something about fame and our relationship to it as downtown artists, I’m not sure. BK: Yes!? i think the show brought fame to dance, meaning Kanye to the actual show. i wouldn’t know what it means to be famous in dance, but i do know getting a good review in The New York Times is a good start. WR: What do you make of 808s and Heartbreak as an album? JL: Derek Lloyd (TD [Technical Director] at PS [122]) turned to me during the last show and said something like “When we started working on this, I didn’t really care for the album, but now it’s really grown on me.” Personally, I can’t stop singing it. But my experience of it is now forever entangled with the performers and performances, which, I have to say, is pretty f-ing cool. BK: i love it, even after hearing it for several days and nights working on the show, i will still listen to it as a place i can go back to whenever i want. I felt that way when i first heard it, and I still feel that way. and now with the show in my brain i think it will be hard for me to ever let it go. WR: ok, thanks you guys. really, respond to whatever you have time and headspace to. words, short phrases, long sentences, treatises etc. it’s all OK. this is a newspaper that is also a performance, although it’s being printed in black and white, we love life in color.

SCRIPT FOR SMALL TALK

(for performative reading out loud; 3 people) KRÖÖT JUURAK

c: hellou a: hi! so tell me, what’s your biggest fear? c: khm(coughing), why do you want to know that? a: oh, just curious. c: i read somewhere that the most common fears are: death and isolation. i wonder what’s the connection. like do they think of death as isolation? a: i guess you’d pick one. but it is indeed striking how... hmm ..meaningless these notions are. b: spill no blood on your way out! c: sorry, have we met? b: yes, maybe you don’t remember. a: loss of memory that’s scary! b: in fact quite the opposite. b: basically we are afraid of things that happened already and MIGHT happen again. (uncomfortable pause) a:for example your bike’s been stolen so you are afraid it might happen again or you had an idea and it was b: used by someone else... a: so you are afraid b: or you copyright it... c: exactly. c: but isn’t it that the b: the fear remains the same or even grows with every “measure”. and this is because c: because it’s contageous. a: yep, you’re able to catch it from others. c: this is the mimetic turn. b: this is what? a: Mimetic behaviour occurs when people run in the same direction where the others are running not knowing why they are running and where the others are going. b: now i remember: They trust that the others know as the others trust that they know...as Vähämäki described it.

A chance duet. Photo: Egle Obcarskaite

CALENDAR 11.08.09 / The Inpex Release Party Schnapsloch 12.08.09 / The Swedish Dance History Book Release Party Vienna - Schnapsloch

c: and of course if mimesis is defined as the deficit of information, then mimetic action and the new mimetic methods grow out from the crisis of transmitting information!!! b: but are we afraid of something? a: no. are we? b: dunno c: no, we’re having fun b: and filling silence b: yep. this is the void. a, c: this IS the void Any resemblance to persons living or dead is purely coincidental

LOCAL NEWS WHOLE ROOM RESONATION Dancer/choreographer/curators take the tools to move the bodies. Otto Ramstad, Miguel Gutierrez, Liz Santoro, Christa Spatt, DD Dorvillier and Rio Rutzinger DJ’ed Sunday night at the lounge. I think that beyond the cult of personality involved in people wanting to hear their friends play music rather than an unknown DJ, people inside of the proverbial “dance” have a greater facility at facilitating dancing. Call it kinesthetic empathy, whole room resonation perception, or simply actively collecting of the sounds that infiltrate our tissues, these folksmoved the butts (and we know from our training, when you move your

pelvis it moves your whole body). Could we consider this fact to be a call to arms that the collective body of ImpulsTanz can self generate its own music along with its own dance? On an added note: Last night again proved to me that Michael Jackson is still operating from beyond the grave as quicksilver alchemical force amongst us. When will the posters of MJ go up all around Vienna?

OVERHEARD IN VIENNA...

LOST Black fetish t-shirt bought in Japan. If found please see Jennifer Monson or Jennifer Lacey.

These programmers have to start justifying their choices at The Schauspielhaus

I Love You LOST Grey “I love you” training pants lost in studio in Arsenal. If found please see Jennifer Lacey.

Black Fetish

Aesthetics andAdministration LOST Culture and Administration by Theodor W. Adorno and Politics of Aesthetics: Distribution of the Sensible by Jacques Rancière. If found please see Jennifer Lacey

OBITUARIES Multiculturalism, (?-2009) the acceptance of diverse cultural and religious differences in society, was pronounced dead this morning in Northern California. The reason for death is unknown, but sources close to Multiculturalism suspect that it’s your fault. by Elana Rubinfeld, Gallery Director, Relational Aesthetics (1998-2009) Relational Aesthetics took its last breath today when we caught up with one of its pre-eminent practitioners, Rirkrit Tiravinija. Known for his cooking and socializing performances, the Argentine-born Thai artist stated that in fact, it was all a case of mistaken identity. Philosophers and critics misheard alike, as what Tiravinija meant to say was, "It's Asian Genetics." By Trong Gia Nguyen, Artist and Curator, NYC.

SCORES Dying Utterances ARRANGED BY WILL RAWLS

Famous Last Words, Score 1: Go on, get out - last words are for fools who haven’t said enough. ~~ Karl Marx, revolutionary, d. 1883 Is it not meningitis? ~~ Louisa M. Alcott, writer, d. 1888 Am I dying or is this my birthday? ~~ Lady Nancy Astor, d. 1964 Now comes the mystery. ~~ Henry Ward Beecher, evangelist, d. March 8, 1887 Don’t let it end like this. Tell them I said something. ~~ Pancho Villa, Mexican revolutionary, d. 1923 How were the receipts today at Madison Square Garden? ~~ P. T. Barnum, entrepreneur, d. 1891 I should never have switched from Scotch to Martinis. ~~ Humphrey Bogart, actor, d. January 14, 1957 Adieu, mes amis. Je vais la gloire. (“Farewell, my friends! I go to glory!”) ~~ Isadora Duncan, dancer, d. 1927 I am about to -- or I am going to -- die: either expression is correct. ~~ Dominique Bouhours, French grammarian, d. 1702 Famous Last Words, Score 2: Too late for fruit, too soon for flowers. ~~ Walter De La Mare, writer, d. 1956 Ah, that tastes nice. Thank you. ~~ Johannes Brahms, composer, d. April 3, 1897 Famous Last Words, Score 3: Is it the Fourth? ~~ Thomas Jefferson, US President, d. July 4, 1826 Et tu, Brute? ~~ Gaius Julius Caesar, Roman Emperor, d. 44 BC Ay Jesus. ~~ Charles V, King of France, d. 1380 I’m bored with it all. Before slipping into a coma. He died 9 days later. ~~ Winston Churchill, statesman, d. January 24, 1965 My God. What’s happened? ~~ Diana (Spencer), Princess of Wales, d. August 31, 1997 Famous Last Words, Score 4: I knew it. I knew it. Born in a hotel room - and God damn it - died in a hotel room. ~~ Eugene O’Neill, writer, d. November 27, 1953 I’d hate to die twice. It’s so boring. ~~ Richard Feynman, physicist, d. 1988 Damn it . . . Don’t you dare ask God to help me. To her housekeeper, who had begun to pray aloud. ~~ Joan Crawford, actress, d. May 10, 1977 Yes, it’s tough, but not as tough as doing comedy. ~~ Edmund Gwenn, actor, d. September 6, 1959 Famous Last Words, Score 5: Do you hear the rain? Do you hear the rain? Minutes before her plane crashed. ~~ Jessica Dubroff, seven-year-old pilot, d. 1996 Please know that I am quite aware of the hazards. Women must try to do things as men have tried. When they fail, their failure must be but a challenge to others. Last letter to her husband before her last flight. ~~ Amelia Earhart, d. 1937

Get my swan costume ready. ~~ Anna Pavlova, ballerina, d. 1931 I must go in, the fog is rising. ~~ Emily Dickinson, poet, d. 1886 Come my little one, and give me your hand. Spoken to his daughter, Ottilie. ~~ Johann Wolfgang von Goethe, writer, d. March 22, 1832 Famous Last Words, Score 6: Let’s cool it brothers . . . Spoken to his assassins, 3 men who shot him 16 times. ~~ Malcolm X, Black leader, d. 1966 They couldn’t hit an elephant at this dist. . . . Killed in battle during US Civil War. ~~ General John Sedgwick, Union Commander, d. 1864 Famous Last Words, Score 7: Moose . . . Indian . . . ~~ Henry David Thoreau, writer, d. May 6, 1862 God bless... God damn. ~~ James Thurber, humorist, d. 1961 Codeine . . . bourbon. ~~ Tallulah Bankhead, actress, d. December 12, 1968 Famous Last Words, Score 8: Go away. I’m all right. ~~ H. G. Wells, novelist, d. 1946 Why do you weep. Did you think I was immortal? ~~ Louis XIV, King of France, d. 1715 Either that wallpaper goes, or I do. ~~ Oscar Wilde, writer, d. November 30, 1900

QUOTES

“I STARTED BELLY DANCING BECAUSE OF MICHAEL JACKSON” LOUISE HÖJER

The Inpex - Edition 1 - Issue 2  
The Inpex - Edition 1 - Issue 2  

A free daily newspaper The Inpex is being produced, published and distributed in Vienna. The Inpex is a means to produce and distribute news...

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