Post-Modern Classics: Brown and Rainer Live — Stripping White Oak’s Celebrity from its Integrity

By Chris Dohse
Copyright 2000, 2119 Chris Dohse

(To celebrate its 20th anniversary as the leading artist-driven publication in the United States, the Dance Insider and Arts Voyager  is reflecting on Post-Modern classics, as captured by Dance Insider critics in performances around the world over the past two decades. This Flash Review from the Dance Insider Archive was first published on June 10, 2000. To find out about purchasing your own copy of the DI’s Archive of more than 2000 exclusive reviews by more than 150 leading critics of performances and art exhibitions on five continents over the past 20 years, e-mail paulbenitzak@gmail.com . Today’s re-publication of this Flash Review is made possible by Freespace Dance.)

NEW YORK — Forty years after its genesis, Trisha Brown’s and Yvonne Rainer’s icon-blasting realness, seen last night at BAM, still blows the cobwebs off mummified high art seriousness and still awes the bedazzled sycophants of mummified high art style with a wazoo full of ideas. Their dissimilar artifacts, separately derived from Robert Dunn’s 1960-62 workshop, strip the White Oak Dance Project’s celebrity from its integrity to reveal its pith within complex, lexicon-defying vocabularies.

My taxi got lost on its way to the Brooklyn Academy of Music so I missed a first solo, Mikhail Baryshnikov doing Brown. My program opened with John Jasperse Lite, “See Through Knot.” All five dancers really strained their necks into it, but the vast Gilman Opera House diluted somehow Jasperse’s odd, lugubrious time and stripped his signature idiosyncrasy to compositional strictures. In this particular case of taking downtown style off the street and marching it up the avenue, something got lost in translation.

The correspondences of Brown’s 1979 “Glacial Decoy” are still filled with humor, subtlety and minimal cool, but the rural still life idealized in Robert Rauschenberg’s slides smacks of cultural colonialism, if you bothered to look at them.

Baryshnikov in a Mark Morris solo, “Peccadillos” … Here’s the stuff that fills the seats. I bet the hoi-polloi would applaud wildly to watch either of them wipe their ass. Morris manipulates expectations predictably (toy piano, doll-like staccato) and the crowd chuckled and peed themselves. A bonus treat, Morris jumped onstage to take a bow.

Rainer’s collage of previous elements/homage to the mythos of herself rations dance history in real time. If I was a Marxist I’d guess “After Many a Summer Dies the Swan” critiques commodity, smearing Have and Have Not across Y2K complacency. Rainer is not shy to reveal her own mysteries. Whatever her cast might be doing onstage, the framing device of her intellect is always the real star. Her abiding humor surprises, the sympathy with which she prods the images we call Twentieth Century icons. Rainer is insistently, disarmingly clever; she discovers previously undetected details of White Oak talents and defines their celebrity anew

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The Lutèce Diaries, 20: American post-moderns in Paris or, how Rosemarie Castoro carved out hallowed spaces in the sexist space of the art world

Rosemarie Castoro in Beaver's Trap studio performance 1977 polaroid estate of rosemarie castoro jpegRosemarie Castoro in a 1977 studio performance of her work “Beaver’s Trap.” Besides the sexual innuendo, the title also refers to the English translation of the artist’s Italian last name. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

by Paul Ben-Itzak
Text copyright 2019 Paul Ben-Itzak

“I’m not a minimalist. I’m a maximist.

— Rosemarie Castoro (1939-2015)

Like what you’re reading? Please let us know by making a donation so that we can continue this work. Please designate your PayPal donation in dollars or Euros to paulbenitzak@gmail.com , or write us at that address to learn how to donate by check. Special thanks today to DI co-founder and long-time supporter Jamie Phillips, who like Rosemarie Castoro created art for many years on the 100 block of SoHo’s Greene Street — where the Dance Insider was born in 1998.

PARIS — The first headline above echoes the way a mentor has characterized these meanderings. If I plead guilty, I could still do with more of Gene Kelly’s aplomb and serendipity in dancing with, wooing, and landing Leslie Caron from the quays of the Left Bank to a Beaux Arts Ball misplaced on the Butte Montmartre. Instead I keep feeling like Henry James’s Lambert Strether, who in “The Ambassadors” has more luck scoring a set of Victor Hugo at a bouquiniste’s Seine-side stand then scoring with an older Frenchwoman who finally rebuffs the middle-aged Boston Brahmin with a dose of Old World cynicism. So after a month — that’s a month too much — of having my American optimism sucked up by the Old World specimen in question, on Saturday I limped up the hill to Belleville, down the hill to a Place de Republique where 30 yellow-flag waving Kurds outnumbered 20 yellow-vest brandishing demonstrators and into the narrow ancient streets of the Marais. If there was too much American signage for my taste — I don’t care if your window boasts that “Our donuts are really fabulous,” would anyone really pay 6 Euros for a krispy-kreme sized beignet and a thimble-scale cup of coffee? — the angst produced by encroaching American cuisine was worth it for the delight of dancing with the Judson-era American artist Rosemarie Castoro on the four floors of the Galerie Thaddaeus Ropac (it’s like a mini-museum except it’s free), where through March 30 curator Anke Kempkes has mounted an extraordinary multi-media (Castoro excelled in all of them) exhibition on the artist who was like Yvonne Rainer, Trisha Brown, Robert Rauschenberg and Allen Ginsberg rolled into one.

rosemarie castoro photo portraitArchival Photograph, “Rosemarie Castoro Portrait,” 1965. Vintage B&W photograph. 19.25 x 15.5 cm (7.58 x 6.1 in). (RC 1121). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

Just emerging s I am from break-up, you-just-waisted-my precious-time hell (see above; and click here if you might be the cure), of course the work that moved me the most in Rosemario Castoro: Wherein lies the Space was a quotidian journal that Castoro kept in 1970, when she was in the process of breaking up with fellow artist Carl Andre. (Who would later be charged with — and acquitted of — second-degree murder in the 1985 death of his wife Ana Mendieta after she plummeted from the window of the couple’s 34th-floor apartment at 300 Mercer Street. Mendieta was recently the subject of a major retrospective at Paris’s Jeu de Paume museum; Andre — many of whose exhibitions since Mendieta’s death have been picketed — is included in the Ropac Gallery’s current minimalism show at its space in nearby Pantin, where it hosts a conference on the subject Saturday. RSVP to laura@ropac.net.) Using a stop-watch, Castoro notes how much time simple tasks like opening the door to her studio or carrying a canvas from point x to point y take. If the language is straightforward, the emotional suffering she was going through is nonetheless suggested; for example, in the fact that it takes her 35 minutes to eat an ice cream cone.

Rosemarie Castoro Self-Portrait in Studio 1980 jpegRosemarie Castoro, Self-Portrait in Studio 1980 jpeg: Rosemarie Castoro, “Self-Portrait in Studio,” 1980. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

In addition to writings, sculptures, paintings, and installation photos, the exhibition also includes the projection of Yvonne Rainer’s 1966 “Carriage Discreteness,” which features Castoro walking determinedly across the stage in its premiere moments, whence my one frustration: Instead of showing the video in a darkened room as is customary, the gallery projects it on a white wall in broad daylight, making it difficult to actually see anything. (You can watch an excerpt here, but ignore the text below the clip as there are some inaccuracies.) The accompanying documentation helps situate Castoro in her milieu and in her epoch: A blow-up of a gathering at her home at 112 Green Street includes an appreciation from Lawrence Weiner, while the program from a performance by the New Poets’ Theater at the Unit Playhouse (157 W. 22nd Street) — with a $1 admission price to see a stellar cast — offers this quaint promise: “In case of sufficient demand there will be a further performance at 10h15 p.m.”

Rosemarie Castoro_Group Photo_Studio in Soho_New York_Polaroid_1969_© The Estate of Rosemarie Castoro_Rosemarie Castor, Group Photo, Studio in Soho, New York, 1969. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Speaking of demandes — in French, “requests” — mine to the Ropac Gallery for a few images was met with an unexpectedly generous helping of photographs of Castoro in performance and of her most famous installations, sculptures, paintings, and poems. So I think I’ll just shut up now and let Rosemarie Castoro dance across your screen. (If you’re in Paris through March 30, you can even score your own images and informative text; in lieu of the standard one-page information sheet, the gallery offers visitors a free, generously illustrated booklet.)

Rosemarie Castoro studio polaroidRosemary Castoro, Studio Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

… But not before a little rant: Given all the Judson-era hype to which I’ve been exposed since I began focusing on dance 27 years ago, including six living in the heart of Greenwich Village (next door to Electric Lady Studios), I was troubled that I’d never heard of Rosemarie Castoro until stumbling into a gallery in the Marais…. and that it took an astute Parisian curator to make up for the superficial curating of a museum in Castoro’s hometown, the Museum of Modern Art, which completely left her out of all the hype it sent out on its recent Judson exhibition. Besides MoMA’s curatorial laziness, a hint to the reason for the larger historic oublie is provided by an Art News cover displayed in the Ropac show which, over a group photo of female artists, ironically asks the question: “Where are all the good male artists?” An answer is suggested by a comment the choreographer Sara Hook made years ago at a New York roundtable discussion on the challenges faced by female dance-makers. In her own eclecticism an artistic descendent of Castoro, Hook pointed out that whereas a male dance star retiring from the stage can simply announce, “Voila, I’m a choreographer,” and the critics who ogled him on stage flock to see his work (that last part is my analysis) female dancers are expected to prove it. In other words, they don’t shout as loudly as their male counterparts. (Living up the street from the Centre National de la Danse, which recently changed its name to the Centre National for l’Art and la Danse — a standard clearly left out when the building, which looks more like a prison than a dance or art center, was designed — I also have to ask why, as far as I can see by its programming material, a center for *art* and *dance* has completely left Castoro out, missing a golden opportunity to coordinate performances with the Ropac, whose Pantin facility is right across the Ourcq canal from the CN “and A” D. Do we really need three months of Xavier Roy — another over-hyped male choreographer?)

All the more reason to shout about Rosemarie Castoro.

Rosemarie Castoro_Studio Performance_ca 1971_Polaroid_© The Estate of Rosemarie Castoro_300dpiRosemarie Castoro, Studio Performance, circa 1971. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

rosemarie castoro performingChoreography and performance featuring Rosemarie Castoro and Frank
Calderoni, February 11-18, 1963. Pratt Institute, 1963. Vintage B&W photograph. 5.1 x 7.6 cm (2 x 3 in). (RC 1130). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Rosemarie Castoro flashers third avenueRosemarie Castoro, “Flashers.” Installation view at 780 Third Avenue, New York, 1984. B&W print on photo paper. Print: 11.7 x 17.8 cm (4.6 x 7 in). (RC 1049). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

rosemarie castro socrates sculpture parkArchival photograph: Rosemarie Castoro, “Ethereal Concrete,” Socrates Sculpture Park, Long Island City, NY. Installation view with children, 1986, 1986. Vintage B&W photograph, 35.4 x 27.7 cm (13,94 x 10,91 in). (RC 1149). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

rosemarie castoro painting oneRosemario Castoro, “Red Blue Purple Green Gold,” 1965. Acrylic on canvas, 182.2 x 361 cm (71.75 x 142.12 in). (RC 1118). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Rosemarie Castoro wordsRosemarie Castoro, “Untitled (Concrete Poetry),” 1969. Prismacolor marker and graphite on graph paper. Paper 27.9 x 21.6 cm (11 x 8.5 in). (RC 1107). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro. Another Castoro poem, similarly presented and displayed in the Ropac show, pays tribute to the conscienteous objector.

rosemarie castoro in front of wall spring street padPortrait of Rosemarie Castoro in front a ‘Free Standing Wall’ in her studio, Spring Street, New York, 1970. Vintage B&W Polaroid Photograph. Dated on verso: “1970.” 8.26 x 10.80 cm (3.25 x 4.25 in). (RC 1148). Courtesy Galerie Thaddaeus Ropac, London, Paris, Salzburg. ©The Estate of Rosemarie Castoro.

In case the Castoro exhibition has you thinking “Ca y est, women artists are finally getting their due alongside their male equals (and inferiors),” think again: Walking up the Street of the Old Temple in the Marais after catching the show, I ran smack dab into the most Lilliputian park in Paris, and whose one remotely adult attraction, a solitary ping-pong table, was surrounded by the smallest of those ugly green ‘off-limits’ construction barriers that continue to blight the city. A park named after the great surrealist artist Leonor Fini. Well, half-named after Fini, who shared the billing with the 17th-century salt tax profiteer who owned the property before the city bought it to house the Picasso museum. That ended up getting a much more luxurious space, while Fini — the woman — got (half) the left-overs. (The name of the park is something like “The Square of the Old-Salt-Leonor-Fini.”) Meanwhile Picasso, the second half of whose oeuvre any child playing in the Old-Salt-Leonor Fini square could scrawl or make with play-dough, is currently sharing his museum with yet another male artist, Alexander Calder, neither of whom can hold a candle to Fini. The fight is not yet over.

The Chevalier de la Barre, 11-28: Things that keep me up at 4 in the morning, or, why Judson’s work is far from done

momajudson alligator small

From the exhibition Judson Dance Theater: The Work is Never Done, running at the Museum of Modern Art through February 3: Al Giese’s photograph of Rudy Perez and Elaine Summers performing “Take Your Alligator with You,” 1963. Performed at Concert of Dance #7, Judson Memorial Church, New York, June 24, 1963. © Estate of Al Giese/Licensed by VAGA, New York, NY.

By Paul Ben-Itzak
Copyright 2018 Paul Ben-Itzak

In an era where the man with the most prized pulpit in the world is calling legitimate news fake, you’d think that publicists would be more judicious before employing hyperbole. You’d also think that the scholars and scientists employed by the world’s number one institution of modern art — where scholarship and the historical accuracy this implies should be primed — would take a look at the press releases before they’re sent out.

And yet there it is, on the first page of the Museum of Modern Art’s ‘expanded’ release for its exhibition Judson Dance Theater: the Work is Never Done, running through February 3 in New York:

“Redefining the kinds of movement that could count as dance, the Judson artists would go on to profoundly shape all fields of art in the second half of the 20th century.”

For the second part of this preposterous proclamation, I have one question: Where’s your proof?

For the first part the statement,  I can only concur with the second part of the exhibition’s title: Indeed, the work is never done.

Judson, secret origins and exiles: The San Francisco / New York dance dichotomy

momajudsonhalprin smallFrom the exhibition Judson Dance Theater: The Work is Never Done, running at the Museum of Modern Art through February 3: Anna Halprin, “The Branch,” 1957. Performed on the Halprin family’s Dance Deck, Kentfield, California, 1957. (Halprin’s husband was the noted San Francisco architect Lawrence Halprin.) Performers, from left: A. A. Leath, Anna Halprin, and Simone Forti. Photo: Warner Jepson. Courtesy of the Estate of Warner Jepson.

By Christine Chen
Copyright 2000, 2018 Christine Chen

(To receive the complete article, first published on September 27, 2000,, subscribers please e-mail paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36/year or $21 or Euros for students, as attested to by a copy of your student I.D., by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, and receive full access to all new articles plus our 20-year archive of 2000 reviews by 150 critics of performances and art exhibits on five continents.)

What becomes a Judson legend?: Halprin Intensive at the Pompidou Museum

By Paul Ben-Itzak
Copyright 2004, 2018 Paul Ben-Itzak

(To receive the complete Flash Review Journal from which this article is excerpted, first published on October 21, 2004, subscribers please e-mail paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36/year or $21 or Euros for students, as attested to by a copy of your student I.D., by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, and receive full access to all new articles plus our 20-year archive of 2000 reviews by 150 critics of performances and art exhibits on five continents.)

Judson & Johnston, together again, III: “Bach” and A Lotta Who Shot John

momajudsonrainer smallFrom the exhibition Judson Dance Theater: The Work is Never Done, running at the Museum of Modern Art through February 3: Al Giese’s photograph of Yvonne Rainer’s “Bach” from Terrain, 1963. Performed at Judson Memorial Church, New York, April 28, 1963. © Estate of Al Giese/Licensed by VAGA, New York, NY.

By Jill Johnston
Copyright 2006 Jill Johnston

(Today’s re-posting of this article — first published on the DI/AV in 2006 as the Johnston Letter, Volume 2, Number 2 — in conjunction with the Museum of Modern art exhibition Judson Dance Theater: The Work is Never Done,  is sponsored by Slippery Rock Dance . Like what you’re reading? Please consider making a donation to the DI/AV today by designating your donation through PayPal to paulbenitzak@gmail.com, or write us at that address to learn how to donate by check.)

I had a one-person organization a few years ago called FUM, meaning Fed Up [With] Media. I got the word from “Fee Fie Foe Fum, I smell the blood of an Englishmun.” It would be a cover for writing letters to media objecting to everything. But I never did. I’m agitated enough just trying to sleep at night. A friend called me and said, “What’re you up to?” and I said, “Surviving.” Driving down the West Side Highway, I told Ingrid, who keeps changing lanes and racing cars a lot newer than ours, “I seriously don’t feel well.” Having established that, I looked ahead and noticed an SUV license plate right in front of us. It said “SURVIVOR.” I took it personally. After talking quite a bit with people about medical issues, I made up a fantasy organization that I haven’t tried to name. I see the country crisscrossed by networks of friends and families, online printouts in hand, filibustering to help each other survive the medical profession. And of course the insurance companies which have sold us down their rivers. At my gym one day, I accosted a young man wearing a bright green T-shirt with white lettering reading, “I am a doctor, don’t trust me,” asking him if he was in fact a doctor. He was, he said, smiling broadly and meaningfully. It’s nice to see art work in the gym. While I was watching The View the other morning, admittedly a really decadent thing to be looking at, esp. at 11 a.m., I had a FUM moment. The View is that unscripted free-for-all kaffeeklatch of four or five women led by the ageless Barbara Walters. Barbara was regaling her three fellow klatchers, who sort of huddle together parabolically on a couch or around a table constantly interrupting each other, with the great time she had had at the White House amongst the Kennedys celebrating the Special Olympics. She had been one of a hundred privileged guests. Special Olympics is a body we all hail and believe in, but Barbara’s explanation of how it came into being was scandalously omissive, and touched on one of my noir issues, i.e., the one where I can’t bear what happened to someone I never knew, and where media collude in covering it up. Barbara had to say that Rosemary Kennedy, the first daughter and third child of Joseph and Rose, was the inspiration for these Olympics, but she could hardly say what happened to Rosemary — that she had been retarded and behaviorally problematic, a potential embarrassment to her ambitious father, and was lobotomized (in 1941) and subsequently put away forever in her new vegetative state. Not that this is not common knowledge. But the subject on The View was not Rosemary or even the Special Olympics or for that matter the Kennedys; it was Barbara’s career-enhancing inclusion in a White House party, thus advertisement for The View. Anyway lobotomy would raise questions of madness, which would hang in the air like string theories. Had I been in the audience of The View, I would have interrupted the klatch and declaimed the truth, then been bounced right out of the show onto the tarmac on my arthritically inflamed foot. But then, I would never be in such an audience. Movement is required, for a start. You have to get there. In the 1970s, I was pretty active. I went to a Women and Madness (book title) party wearing a “Certified Insane” sign. I had been feuding with the feminist author of the book because I thought I knew more about the subject than she did. I wasn’t too mature then. But I did know more about the subject, having actually been mad. My sign was the picket type, reading “Certified Insane” front and back in big magic letters. The author was so threatened and upset that she called the cops, I guess for disorderly conduct, certainly not for breaking the First Amendment. In my memory the cops never came, or I left before they did. I was not the sort of activist who solicited arrest. As for art work or activity, it was never a feminist interest, except when the movement turned its attention to women who were artists. Down in the equatorial dumps yesterday, I was complaining to JM on the phone from California, who wisely summed up our times, saying, “We’re in a terminal period of awfulness.” It’s in this gloom that I have kept shambling along looking for a doctor for my foot, like Diogenes bent over his upheld lantern in broad daylight searching for one honest man. The foot is not popular with doctors. It’s too far away from the heart, the organ of course of medical preference. It’s far away altogether from world concerns, the blood of the Englishmun. At 11 p.m. one evening I caught Charlie Rose on PBS schmoozing with his guests Bill Gates and wife along with Warren Buffett who had just contributed an indecent amount of money to the Gates Foundation. I like Gates and his philanthropic spirit — I always wonder where exactly the money goes (if I had any money and contributed it to something I would accompany it right to its announced destination to see if it got there and if so who handles it and how) — and now I suppose I have to like Buffett too. But Rose’s real subject was not the desperate global plights to be alleviated by these new billions, but Rose himself as a friend of his fabulously wealthy guests. You know this as you watch him descend to unmitigated vulgarity, making his guests laugh with him over things mysteriously private (undiscovered no doubt even by them, or by the perpetrator, Rose), as they are forced to engage figuratively in sucking each other off. Now what you are watching are three schoolkids (leaving the wife out of this — she appeared to stay on point), laughing over their impossible mission. And you thought it was about saving the world. So FUM them. I wake up yelling sometimes. I had a Katrina-type dream. I’m one of Thoreau’s masses, leading a quietly desperate life. In our final phase of empire, I see Nero with his banjo everywhere, and the flames licking our skylines. I see GW talking about how “sad,” how “pathetic,” the new violence in the Middle East is! I read about “our shamelessly narrow definition of ‘torture.'” I get into a conveyor belt situation at a clinic to see a rare type of doctor, a foot surgeon. First you check in with a woman at a high wooden desk that surrounds her, and she isn’t smiling. At that moment, you should walk right back out. Heck, I can still walk. I just walk minimally, and with help, to avoid the pain it can cause. At the end of the beltway, not a single functionary en route smiling, I waited with Ingrid in a large bare square office for the surgeon, who when at last he came told me surgery is not a good idea, that I don’t look my age, and I should see a neurologist. They hand you around like a plate of cookies. On our way out I saw scads of overweight dejected looking people waiting their turn on lines of chairs, gazing vacantly, mouths slightly open, surely stupefied by drugs. Next I went to a doctor of anesthesiology/pain management, an intriguing-sounding specialty. He would inject me with the bad stuff I want, but I could tell he wasn’t going to care about me. That’s the only specialty that matters to me. He gave me a prescription for a drug called Neurontin, and after reading the list of its side effects I threw the whole three-dollar vial of 90 Neurontins out. Then I went back to the only doctor I’ve met who looks into your eyes with kindness, and who I hope to designate my de facto primary physician. He smiles gently in the long-suffering style, and under his white coat wears subtly mismatching ties and shirts. He’s clearly a man of art. He took my foot warmly in his hands and said you have to start using it more because it’s getting osteoporotic. And he can give me bad stuff in a way that won’t kill me. However I would never forsake the help or advice of friends. I’m very sad that Neno, our flower-store friend, sold his shop and is moving on, but Ingrid saw him on the street this morning and he told her to tell Jill to walk 500 steps every day. What a great idea! I’m going to try it. I’m so mature! Later on in the 1970s, quite a while after my “Certified Insane” episode, I did something that called out the cops again, but this time it changed my life. It was not one of my more artful events; in fact to be frank it was an act of pure violence. I was visiting the Fallsburg New York headquarters of a major guru, having accompanied a devotee there. Standing in line to be “blessed” by a bunch of peacock feathers wielded in air around your head by the guru, I ducked out of the way when I saw it coming. Later, alone in the huge dining room, I suddenly, and with no sublunar reason that I can conjure up, propelled with a mighty push a tall pile of dinner plates off a table onto the floor. They crashed and fractured into a winning mass of rubble, bringing me to the attention of the meditation authorities, who called the cops. I retreated in haste to the parking lot, and lurked invisibly around my mgb, waiting for my devotee friend. Two older women standing together materialized in front of me, about 20 yards away. One I recognized as the poet and potter MC Richards, who turned to her companion and told her who I was, using the epithet, “troublemaker.” Troublemaker! Such a common tag. After that, I stopped acting out in public. And so life goes on, said Gertrude in her book on Picasso. It may all be a lotta who shot John, i.e. a lotta hooey, as Judge Judy sometimes yells at her losers. Judy is abusive and awful, and I could FUM her to death. But where did she get this pearl?

©Jill Johnston. Previously published on www.jilljohnston.com. First published on the DI in 2006. To read more about Jill Johnston, please click here.