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My new favorite art site: Wants for Sale

Two nyc artists, Christine and Justin, started painting pictures of things they wanted. Visualizing, them, as it were, on canvas. Then they started selling those paintings for the exact price of that item. And voila, the item manifests.

They painted an iPhone; they sold a painting of an iPhone for $432. They got an iPhone.\

They wanted a slice of pizza; they sold a painting of a slice of pizza for about $3.00. They wanted the rent, a check for $1,056.07; they sold a painting of a rent check, and got exactly $1,056.07 for it.

They assign an arbitrary value to a painting = to what the image depicts. Each painting is about the same size, same style - what makes one worth $12.70 (buffalo wings) and another $1,000+?

The image = the reality. The Secret in action? Or the postmodern art market.

If I’m a collector, is the rent check painting worth more than the pizza painting? Not necessarily; the pizza is the earlier work, after all.

What value do we project on things? What web of interdependent wants and needs throws up this projection on a blank canvas, as it were?

Christine and Justin got the rent, after all. What’s real? What’s value? Do we make ALL this money stuff up?

And the subject of their painting is the actual object that they want. Can’t help but remind me of Ovid’s retalling of the original Greek myth of Pygmalion, the sculptor who scultped a woman so beautiful he fell in love with her; upon fervent prayes to the gods, she came to life and stepped into his arms.

So Christine and Justin’s iPhone materialized out of the canvas and stepped into their pocket. Making pictures or art into reality has long been a pattern–or a want–stuck in the patterns of the human brain. Look at the caves of Lescaux! Want a bison? Paint one and you’ll get one.

I would buy the iPhone painting. But I maybe I’ll just put an image of the iPhone painting. On my iPhone.

Like Butthead, who wanted to put a tattoo of a butt. On his butt.

Now there’s some postmoderism for ya.

BLISTERING.

Bob Mould played Irving Plaza last night. Oh. My. God.

Mould, along with Grant Hart, made up most of the hugely influential and revered post-punk band Husker Du, which slammed out of Minneapolis in the early 80s.

[The band was named for a Scandinavian "Concentration"-like memory board game briefly popular in the 70s. Said game is remembered mainly for its peculiar and opaque Euro-flavor TV ads. Think Mentos commercials.]

Husker Du means, “Do You Remember?”

Did I ever! Last night Fugazi Fan and I remembered a freezing snowy night in ‘86 with Husker Du boiling up the mosh pit at Irving. And their final tour in ‘87, at the Ritz. I remembered being tossed off the edge of the mosh pit like a piece of flotsam, my then-Olive-Oyl-like build no match for the crazed and beefy boys smashing around in the center.

Bob hadn’t played any Husker in a long time. Did HE Remember? He did come out on tour last year, and for the first time in probably a decade played a coupla Husker tunes and stuff from his second band, Sugar. And last night he did it again.

Stupendous. Opening with newer stuff, Mould built giant slabs of guitar brilliance, submerging the melodic lines beneath frenzied layers of speed and bass. His unmistakable vocals, mixing anger, hope, rue, passion, and white-hot energy, was too hoarse for the softer songs at the end. No matter.

“I Apologize” is still one of the most satisfying bitter no-apology breakup songs ever, and the band just screamed off the charts on the rest of the material. A huge “Celebrated Summer” led to the classic “Divide and Conquer”, its lyrics still resonant today:
“It’s not about my politics
Something happened way too quick
A bunch of men who played it sick
They divide, conquer

It’s all here before your eyes
Safety is a big disguise
That hides among the other lies
They divide, conquer. . .”

By the time they opened the second encore with “Chartered Trips” from Zen Arcade I was beyond bliss.

Thank goodness I was beyond the mosh pit, too. But not the memory. Screaming, speed, intensity, brilliance. Ahh.

Here’s the set list, thanks to twi-ny.com:
The Act We Act
A Good Idea
I Hate Alternative Rock
See a Little Light
Hoover Dam
I Am Vision, I Am Sound
Hanging Tree
Miniature Parade
Your Favorite Thing
Again and Again
Circles
Paralyzed
Can’t Help You Anymore
I Apologize (Husker, from New Day Rising)
Celebrated Summer (Husker, from New Day Rising)
Divide and Conquer (Husker, from Flip Your Wig)

Moving Trucks
Egoverride
If I Can’t Change Your Mind

Chartered Trips (Husker, from Zen Arcade)
Makes No Sense at All (Husker, from Flip Your Wig)

Well, I saw Justice back in October, at the CMJ festival in NYC.
And they’re back. And so is another review, with VIDEO! VIDEO! VIDEO!, as part of the “myspace music tour,” which signally failed to sell out Madison Square Garden and wound up ignominiously demoted to the WAMU Theatre instead.

Frenchmen Gaspard Augé and Xavier de Rosnay hail from Paris, France, where their success anchors the heavily self-promotional Ed Banger record label, known primarily for its particularly dirty, messy, over-the-top electrodisco dance aesthetic.

Satisfying their mainly youthful fans with MTV megahits “D.A.N.C.E.” and “We Are
Your Friends,” the duo put on a stupendous show, perched high atop stacks of gear festooned with flashing lights (most of which, i suspect, had no discernable purpose save decoration) and enthroned between perfectly matched twin banks of massive Marshall amps, their trademark glowing cross front and center.

Something so invidiously schticky-sweet about their show percolated thru the beats. The machine gun-speed loops, the hammering blips and bleeps, the high-frequency strobes and blazing kliegs. . . like eating crappy candy. I kept listening, even tho’ I knew I’d get a headache. Perhaps only video can communicate the true rock candy flavor:

Despite the sirens, pounding bass, a relentless four-on-the-floor disco rhythm, and crescendos that alternately call to mind airplane engines and helicopters, there’s a bit of hollow disconnect — they make no call for real justice; their cross resonates with no Catholic–or even faintly Christian–aesthetic. Justice is all about the mass DANCE and nothing else. Such purity may be refreshing, after all.

Incredibly enough, their hit “D.A.N.C.E” with its little-kid sing-song alphabet vocals, won Best Video at the MTV Europe Music Awards, so pissing off Kanye West that he went onstage to complain about it. Their show verges on the cartoonish at times–piling obvious hokey reference on reference, and throwing a LOT of heavy metal/rock allusions around, what with the giant amps, ambulance lights, and dry ice “smoke” and all. A good part of their schtick depends on the Metallica in the mix, along with the “Billie Jean.”

But sample spotting was not the main attraction, as insane bass lines at huge volume thudded thru everybody’s insides, pounding the audience into a joyful, sweaty, booty-shaking electrorockdisco climax again and again. The WAMU Theatre was formerly the Felt Forum, home to many a powerful boxing match in its day. Tuesday night, Gaspard and Xavier pounded the turntables as hard as any boxer ever pounded an opponent — and pretty much emerged victorious.

Chromeo at WAMU theater, New York City Fun, fun, fun, but what a wacky venue! Dance music hotties Chromeo and Justice played Tuesday nightat the WAMU theater in nyc’s MSG, as part of the “myspace music tour” .

What the hell is that? Well, the “myspace music tour” is about as superannuated as I felt at the show. The “myspace” tour seems to have hit after myspace itself was hot. Cuz the WAMU is a little theater - a side room of Madison Square Garden. (That side room was originally known as the Felt Forum, back in the day.) A MUCH smaller venue than MSG itself. Kinda had a “playroom downstairs” feel.

Justice and Chromeo were booked for the “big room” –the stadium — but ignominiously failing to sell enough tix to fill even 1/4 of the World’s Most Famous Arena, they were demoted to the dinner-theatre ambience of WAMU.

But it felt kinda like the playroom, as oh-so-rock-star Dave Maclovitch, the guitarist of Chromeo, struck some tasty poses

for the teens and tweens and 20-somethings in the crowd. “We’re Chro–me–oh and we are here to get you DOWN!” He and bandmate Patrick Gemayel’s

infectious sampling of oh, say every p-funk and Prince riff to ever hit the radio, plus some judicious Hot Cherry licks, got everybody bouncing. The insane subsonic bass on “Fancy Footwork,” introduced by an invitation for everyone to two-step, came hot after “Bona Fide Lover” with its hilariously deadpan guitar solo opening. No one was sitting in the comfy seats.

Too much fun! Chromeo knows their shit, and they dj the electrofunk with so much good nature and enthusiasm I had to love ‘em. (Plus I love p-funk and 70s funk stuff so much that if they just played a bunch of old 45s I’d be happy.) Wikipedia note: I learned that Dave is A-Trak’s older brother (A-Trak is Kanye West’s dj)- that prob helped this Montreal-based duo get a leg up.

A leg up –Har har! Their gear was perched on goofy leg stands - inevitably calling up memories of that “major award!” of Christmas Story

Chromeo judiciously mines some of the most stupid-ass irresistable hooks from 70s and 80s radio staples - including the opening to the “logical” song by Supertramp, which they wove into “Momma’s Boy” (I think that’s the title.)

Dave made a rueful allusion to their demotion by saying, “I guess we are playing Madison Square Garden! and I thought if I ever played a stadium, I’d have to play this — and they rode off into Journey’s “Don’t Stop Believing”. The crowd didn’t believe it, and next song was back to the booty-shaking evocations of Bootsy Collins-era funk that played. . . before these kids were born.

What the hell. The incredibly cute little blonde chick next to me kept asking if my hubby and I had any pot, offered to share her beer, petted my hair and apologized when she drunkenly fell on me, and well, the kids are alright. They always are.

The interstitial music included the original “Logical Song” from Supertramp, plus LCD Soundsystem’s immortal “Daft Punk is playing at My house” and Goldfrapp’s “Ride a White Horse” - a perfect segue into Justice’s set. Review of said set, with ORIGINAL VIDEO! VIDEO! VIDEO! will be up in thisspace tomorrow. Stay tuned!

[credit all fabulous photos to This Week in New York Many more up on the separate and fabulous This Week in New York flickr site.

Last night I had my hands on a ticket to the PLUG Independent Music Awards on Thurs night. The show sold out in minutes, weeks ago.

Why? Who cares about a bunch of self-involved hipsters congratulating each other and engaging in petty rivalries in the tiny, overheated faux-mom’s-basement world of alt/indie music?

No one does. Host Patton Oswalt could barely keep the crowd focused on the awards, delivered via self-consciously lo-fi, yet still painful and pitiful graphics projected on what strongly resembled a 70s filmstrip screen.

Everyone in the place was there to see DIZZEE RASCAL and NICK CAVE. (So skip to the bold if that’s all you care about!)

First, a nice set by St. Vincent, whose super-cute, minute, black-haired vocalist won best Female Artist. Mixing a rather Robert Plant-like “In the Evening”-style delivery into songs that started melodic and devolved into arrhythmic screechy noise, St. Vincent managed to evoke Sonic Youth without actually sounding like them. Or as good as them, tho’ my companion liked them quite a bit more than I did. Next, the Forms delivered a limp and forgettable set, while I got some free candy in the ladies’ room. Not THAT kind– there were bowls of sponsor Dell’s Funtime chocolate wafer bars. Ewwww-w-w-w-w. Tasty food, bathroom stalls. That’s a bad equation there, young marketing whizzes.

Jose Gonzalez, nominee for best “Americana” album or artist or something, sat lonely in a spotlight strumming his acoustic guitar.

Much hyped, much loved, Jose and his “Americana” cohorts mystify me. I just want to pull a John Belushi-on-the-stairs with those children’s fucking acoustic guitars. Stop fucking gazing into the distance and plucking melancholic tunes. Just STOP. Stalwart concert-going pal Leyla turned to me during the set and said, “I just keep thinking Jose Feliciano.”

Dizzee Rascal finally took the stage.

in a cool black t-shirt and white cap (cap back of course), he delivered a blistering four-song set. The first tune was only a snippet; the second, with its lyrics “on the 3s and 4s” got stronger and stronger. By the time he was folding, flipping, and twisting the English language, putting it thru paces and places it has not been before, the crowd was roaring. Last song, his hit “Fix Up, Look Sharp” (an MTV Shortlist winner in 2005), picked up maniacal speed and perfect cadence - and ended.

I saw Dizzee gesturing off backstage left — looked like he asked for more time, but no go. He marched off stage right to the only calls of “Encore” heard all night. Really sucked, cuz by all reports he tore up the place at every British festival where he appeared last summer. That kind of brilliance onstage throws massive shade on everything else - and last night was pretty dim already.

Stalwart concert-going pal Leyla begged off at 9:45, as the dull, dull show droned on. Oh, the pain!

But at 9:50 Nick Cave and the Bad Seeds took the stage for a nine-song, 45-minute set that was worth all the waiting.

Nick’s menacing, hollow, booming delivery hasn’t changed too much over the years. (I’ve been a fan since Birthday Party days, when oh yes, I thought he was so ugly fucking crazy dirty hot. Reorder those adjectives anyway you want, and they still work.)

Stalking the stage last night, still cadaverously slim but sporting a VERY unfortunate porn stache below his megalocephalic expanse of forehead, Cave called up images of lone, tubercular, Western gunmen, as his theatrical baritone intoned images of blood, murder, the Sandman, little children, God, and the rest of his particular, peculiar Gothic universe.

Cave does American and calls out the dark in it, something the youngsters twee-dling their way thru Iron & Wine and Jose Gonzalez don’t. It’s not lace and loneliness and winsome sad trailerparks, nor sweet bluebirds of Appalachia, it’s black-hearted men and women and violence and greed. It’s the “Deadwood” aesthetic over a punk beat, with some powerful rock ‘n’ roll guitar pounding down the nails. Cave’s always been able to find that edgy echo to his Australian outlaw wilderness in our American West.

For the fans: set opened with “Midnight Man,” followed by the excellent, rather post-modern lyrics of “We Call Upon the Author” and its insistent chorus demanding an “offer to EXPLAIN.” Next, “Red Right Hand” (with some fine snake-oil theatrical arm gestures) from 2004’s Abbatoir Blues featured two crashing climaxes, mid-song and end. Then “Tupelo,” with its images of “the Sandman.. . the little children know,” and the refrain “Oh God help Tupelo” brought out the eerie. “Lie Down Here and Be My Girl” next, and as we commented on Cave’s dark, cautionary tales, what’s up next but Cave’s stupendous interpretation of “Stagger Lee” with a “bucket of blood,” a Colt .45 and a deck of cards. And at last, a rollicking encore of “More News from Nowhere.”

More news from nowhere; well, LOL — you can find that list of PLUG award-winners elsewhere. I was there for the show.

oh, also appearing:

The National (whom I like - see my review of their South Street Seaport show this summer) showed up to actually claim an award, as did a mega-weird fave of mine, Battles (also reviewed here re: their South Street Seaport show). YAWNNNNNN.

braving a new show season - the Bravery at Terminal 5

So after an excellent visit to the newly conservative
I Got My Reasons radio show, with some great tunes (I have them to thank for an introduction to Breathe Owl Breathe, a fabulous new Michigan band), it was time for some live music.

Over at the cavernous (no, there is no other adjective for the former Exit) Terminal 5, beyond 11th Ave., alterna-pop faves The Bravery were pounding out infectious 80s-tinged pop anchored by solid dance beats.

oh holy shit there may well be no way to write about these guys w/o sounding like some kind of horrible allmusic.com PR-machine regurgitator. but hey, they regurgitate too! all the kids are doing it!

We arrived, late, to their version of “Stop Drop and Roll” - a bizarre co-incidence since the aforementioned Breathe Owl Breathe do a completely dissimilar song of the same title.

it must be some kind of catchphrase for this generation, like “get under your desks” for the 50s atom-bomb babies. Whatever.
The synth lines were PURE WLIR/1987.

“This is Not the End,” from the 2nd version of their second album, started great.
Mainly by channelling aka biting the great percussive “London Calling” opening from the Clash. Then the frontman started sounding like Robt. E. Smith, tho’ he was wearing a sweater vest (..these kids pick the most inexplicably unflattering styles to revive) and no discernable eyeliner.

But they were so much fun! With shoutouts to East Northport, Long Island, references to Pony Boy, and genial display of a fan’s artwork, The Bravery swung thru an uplifting set of pure 80s pop, angst-lite.

Soaring synth lines, sad-boy lyrics like “Every word from your mouth is like a knife in my ear” and the unmistakable vocal stylings of Smith in the Cure worked then and they work now - “The Ocean” was a prime example.

The Bravery remind me of driving around Long Island (their birthplace) - nothing new, but it’s kinda fun sometimes. Especially if WLIR is on.

Since those 5th-grade nights when I listened to 70s “free-form” FM, with a little white single RadioShack earplug under the covers, I do love the radio.

The Internet radio of BlogTalkRadio - is centered on talk,
Listen to I Got My Reasons on internet talk radio

I Got My Reasons and others do play some good music. And thanks to another listener of that Got My Reasons show, I got to see the amazing Bettye Lavette at the Allen Room last Friday night.

Bettye’s Story: hugely talented Detroit soul singer, first recorded at 16; no success, personal battles with self/others, bad management, finally made it. Very tough, intense stuff.

But she’s in great shape: At 62, looking hot and lithe, in the utterly spectacular Allen Room with its one-story glass wall overlooking Central Park, Bettye tore the place up. What a triumph after years of hardship and hard work. It was freaking awesome. Her a capella finale of “I Do Not Want What I Have Not Got” as well as “Close as I Get to Heaven” were highlights for me. She covered everyone from Joan Armatrading to Don Henley to Fiona Apple and Lucinda Willams. Listen up!

Course, regular radio SUCKS.

So Internet radio works (insert sound of Ellen continuing to bang on same drum, beat dead horse, etc.) I’ve often touted BBC’s amazing reggae, dancehall, and new music breezeblock shows, as well as Seattle’s KEXP.ORG. But I’ve been totally STYMIED tryng to find decent broadcast radio in NYC. Not since the glory days of WLIR in the 80s have I turned on something decent on commercial radio.

My pal Joe R. told me about
WOXY’s re-broadcast from the UK’s excellent Artrocker Magazine, every Wednesday at 6:00 PM EST: 90 minutes of new release singles, albums, demos, and myspace tracks.

but there is HOPE on the horizon. two NEW commercial radio stations are hitting NYC soon–101.9 RXP www.1019rxp.com .
and beginning on March 24, 2008, Radio Liberation will air KEXP-produced programming Monday through Friday on Radio New York 91.5 FM. woo-hoo!

so I’m finally BACK from my peregrinations round Ireland.

Nothing I like better than bringing back some foreign music. But Irish radio in the countryside SUCKS ASS. BIG TIME. My friend Claire recalled that last time she was there, all she heard was Chris DeBurgh, over and over. And now it’s superformatted, playing the SAME 10 songs, over and over, and over and over. . . .as our car of four careened around the roadways, piling up massive left-hand side of the road miles from Galway to Dublin and down the south, the SAME 10 crappy songs played, over and over. . . ARGGH.

what I did find in Ireland was some fine bhangra on the AAG cable TV channel (all asian something or other). My bro Dave and I watched this incessantly, at all hours of the day and night, to the dismay of our spouses–mainly cuz it wasn’t in English. What was cool to me was seeing more Pakistan rather than Hindi-based or Punjabi material - tho’ Punjabi still rules! This was my fave:

Abrar Ul Haq: “Islamabad”

nice finale!

But on the radio was ONE song, amongst the 10 pieces of Pop Crap, that was PURE Pop Crack. I speak of Electrovamp’s monstrous “I Don’t Like the Vibe in the VIP.” Nothing like a car full of Scordati hollering “Shake my peaches and cream; I’m gonna make you scream . . .like you haven’t in ages!” Okay, so the other car denizens were screaming in pain. Tough. But do not miss this one. It sizzles like a mouthful of Pop Rocks and Coca-Cola.

Electrovamp–I Don’t Like the Vibe in the VIP

and ya heard it here FIRST!!! came out in England 31 dec; came out here 8 Jan. These Welsh sisters, 17 and 18, are hot hot hot. I think the song is almost a remix of an old club hit, but who cares?

Finally got home late Sunday night, turned on my beloved New York Noise, a NY-only cable show of indie music video, on channel 25, nyctv. (Search google - you can watch some online! - don’t sleep on this one! well, okay, you can, cuz it’s actually on pretty early, at 10pm) New York Noise was having a post-punk haircut extravaganza, juxtaposing hilarious and much-loved 80s Joy Division, Orange Juice, Klaus Nomi, and OMD vids with Franz Ferdinand and other current sporters of the “post-punk haircut.” Compare and contrast. Very worth watching.

And what should appear but the extremely fabulous and underrated Monochrome Set! with their video for Jacob’s Ladder. okay, everybody say “too much art history 101″ and then identify the refs here:

whew. back in the ultimate self-referential mirror world of indie pop. at last.

But I think I might not like the vibe in that VIP room better. . . .

[note: this post was written for the buddhist blog "One City" and is also posted there.]

My cat Shinsan died around midnight on Thursday, Dec. 13.
shinnieprofile.jpg

His terminal illness came on suddenly, three weeks ago. We rushed him to the vet hospital on Monday morning, Nov 19th; they told us he was terminal, so we took him home to die Tuesday night, Nov. 20th, several thousand dollars later. (note to self: If reincarnated as an animal, pick a devoted owner and pick Manhattan. The three major vet hospitals in NYC probably have more life-saving technology than several countries in Africa put together. But that’s another blog. And I donate money to hospitals in Africa, too.) Shinsan lasted three more weeks, very ill, very well loved, very well cared for. Exhaustingly, excruciatingly cared for. Everybody suffered.

His was the second cat death I’ve been thru. Hmm, death, attachment, suffering. Seemed like a job for my buddhist meditation practice. One friend reminded me of George Carlin’s advice: “Remember, every time you buy a pet, you’re purchasing a small tragedy.” When I asked a buddhist friend for some words of wisdom, I heard, “Impermanence: not just a word anymore.” Yup. Facing the imminent physical reality of a dying being - animal, human, even a plant! - is very, very real. Impermanence, attachment, aversion - it’s all there.

So after a couple of years of buddhist study and practice, what did I find? Witnessing suffering and death and trying to alleviate it is quite intense and horrible. All the empathy and compassion I cultivate in my practice on the cushion and the sidewalk is both beautiful and magical, when I can connect with someone or some being, and excruciatingly painful that being is ripped away in pain. Duh. The more you love the more you grieve. It doesn’t take a buddhist to figure that one out. I coulda got it from a Hallmark card.

I remembered seeing a question about death on http://gudoblog-e.blogspot.com/2007/11/how-should-we-face-death.html Gudo Nishijima’s blog. (He’s a Zen buddhist teacher, rather iconoclastic, as far as I can tell.) Here’s a question from a student, and his answer:

Student (Isahito San): [A]nd what should we do, when death is coming to our life?

Teacher (Gudo): I think that I should wait for death quietly, and I think that there is nothing to do preparing for death.

preparing?

There really isn’t. Nothing except life and practice. Death happens; I decided to try to just watch the emotions, and feel them. I know I was attached; I know it hurts. I just decided to go with it. Hurt, grieve, cry, feel. I sat every day. I was thoroughly, deeply miserable. In the moment.

I tried to take the practice off the cushion. On the streets I walked around looking at people, and wishing them peace and contentment. I thought of how many had suffered the far worse pain of losing a person close to them; I wished them solace. Tried a little tonglen practice on the subway. Gave money to beggars. All that buddhist stuff. Truly it is better to be miserable in a crowd; One City is a good place to grieve.

When we took him to the hospital the last time, to be killed humanely, I held him as the vet pushed the plunger on the final injection. I had more than a little trouble aiding the death of a sentient being, but I thought about ahimsa - nonviolence; it wasn’t violence, technically. He was too sick; the compassionate action was not spending thousands of dollars for 24 more hours of labored breath; it was letting him go.

As the vet’s thumb went down, I whispered the parts that seemed at least somewhat applicable from the Tibetan Book of the Dead: “Everyone has to die” and “Don’t be afraid.” I freely admit I have never been into that book, unlike many of my buddhist friends, who discuss it at length and make promises to read it over each other’s bodies. I had never even read it. I had to look up a free translation online: http://reluctant-messenger.com/Tibetan-Book-Dead_Houston1.htm

(On another friend’s advice, I admit I did some preparation.)

The TBD instructions are not terrifically applicable to animals; the note: “I will let go of the illusion of instinctive terror. . . . I will recognize all objects as my mind’s own visions” did not seem too great. I doubt Shinsan’s little cat “mind’s own visions” had ever included lethal injection.

Ah well. Everyone does have to die and I hope he wasn’t afraid. When it was over, the next day I went to work, went to yoga, ate a giant Dragon Bowl macro plate from Angelica Kitchen and went to bed early. And I felt the emotion of relief. Deep relief. But as I sat the next morning I started the torturous guilt; I could feel it coming on - the pain of recrimination - had we done enough, too little, too much, too soon, too late. . . and I checked my email. Every morning I get a little lojong slogan and explication from some http://lojongmindtraining.com thing I signed up for. That morning it was “Regard all dharmas as dreams” and the commentary was by Pema Chodron. She wrote:

“More simply, regard everything as a dream. Life is a dream. Death is also a dream, for that matter; waking is a dream and sleeping is a dream. Another way to put this is: ‘Every situation is a passing memory’. . . .

Have you ever been caught in the heavy-duty scenario of feeling defeated and hurt, and then somehow, for no particular reason, you just drop it? It just goes, and you wonder why you made ‘Much ado about nothing.’ What was that all about? It also happens when you fall in love with somebody; you’re so completely into thinking about the person twenty-four hours a day. You are haunted and you want him or her so badly. Then a little while later, ‘I don’t know where we went wrong, but the feeling’s gone and I just can’t get it back.’ We all know this feeling of how we make things a big deal and then realize that we’re making a lot out of nothing.”

At first I felt awful reading this. It CERTAINLY did not apply to the death of a loved one! “making a lot out of nothing” - Oh PU-LEEEZE! what utter crap. If Pema had been in front of me I would have smacked her upside the head for that one.

But I realized I could see those guilt thoughts. They were thoughts. I could drop ‘em. I didn’t actually have to be thinking them. They did nothing. They would only be the root of more suffering. I was making a big deal of nothing. So I dropped ‘em.

I feel a hell of a lot better now. I felt awful in the moment; I feel different now. And in January I’m going to purchase another small tragedy. (Actually, I’ll adopt one.)

shinnieoncushion.jpg

RIP, Shinsan. Every experience is an opportunity to wake up. Be grateful for everything. Even death.

Long ago, back in 1841, the first subway/underground train tunnel ANYWHERE was built in Brooklyn. Walt Whitman even wrote about it. But it was closed up in the 1860s as part of a real estate scam, and most historians considered it destroyed. For about 130 years no one could find it.

Til 1982, when a Pratt civil engineering student named Bob Diamond DID find it, by determined research and by crawling under a manhole cover on Atlantic Ave in Brooklyn. And on Saturday, I and a crew of about 25 people got to explore it, as part of a documentary shoot organized by Jerry Kolber and Trey Nelson, about Bob Diamond and the tunnel.

Here’s the pix! Google “atlantic ave tunnel” for the background. It’s pretty wild.

Our manhole cover:

Going in, 25 feet down:

Seeing the tunnel:

Tunnel wall (stone on bottom is mica schist mined from the building of 3rd ave in Manhattan; cuz it’s in Brooklyn, part of Long Island, there’s no rock to tunnel thru; just sand and terminal moraine - debris. Google it! Roof is a brick barrel vault.)

Weird-ass stuff I saw down there:




Bob Diamond explaining it all to us:

A rare sighting:

And no, the tunnel’s not on any tours, or open to the public. Check the pix and check This Week in New York pix on flickr.com for more!