Saturday, October 21, 2006

Playlist|My Black-eyed Boy|Texas

No I don't lack ambition
Can't you see what I hate
That it's you who is sticking
Locked behind iron gates

Unveiling|Fall 2006 logo


Coined|Phast Cash or Phat Cache


1. illegally obtained electronic funding dollars
"He really made some phast cash that last time he pulled that stunt."

2. the ultimate compliment upon review completion of any body of one artist's work
"That's some fuckin' phat cache you got there, brother."

N.B.: Not to be confused with phat cache, which refers to male genatalia size; including, any reference to banking, deposits, transactions.

Analysis v001


Ask yourself –
can you even deliver?


How Soon Is Now?

How soon is WOW?

Whoops! Typo. Sorry, Madona.

I'm pissing my pants it's so funny.

– because you dance to disco and you don't like rock

– Tennant|Lowe

Mr Blue

has left the picture.

– my black-eyed boy
you will find
your own
space and time


How I really see it. v001

The answer was right in front of me.

Someone's paying attention.
I thought I smelled something.

GL|I told you. The license plate, J's t-shirt, that yellow CD, something else we both noticed. I remember, but I forget.

– and disappointment disappears|Miserablism
– life, an impossible scheme
and love, an imperceptible dream

– Tennant|Lowe

Friday, October 20, 2006

Not Aniston. Not Tilly. Not's Justin's. Not Steven's.

Go ahead. Stop him from chopping off her head.

I triple-fucking dare you...

4 dripping severed thumbs all the way up.

50% of Perfect Vision

©2006 Untitled|Self-portrait

Do you wanna live in this lousy world?
I learned to ignore what the photographer saw.
I feel like taking all my clothes off.
I don't know what you want but I can't give it anymore.
I love you. You pay my rent.


Sooner? or Later?

This happens to everyone.

What Four?

I wonder if the cult of celebrity built around the President
makes it satisfactory for some parents' sacrifice.

Thursday, October 19, 2006

US Troop Deaths in Iraq

And counting.


The Other Countdown

No Tricks. Just treats.

Something for your eyes.
Something for your ears.
All, from my heart.
Season's greetings.

Risk everything.

The bigger the risk,
the higher the payoff.

Someone did risk everything.
Two of us watched the movie,
each of us felt a different type of pain.

I guess I'd better learn how to read "shoulder"
as it seems to run in the family...

My muse has his angel...

Life is either a daring adventure...
or nothing. –Helen Keller

Old News from the PSB

I'm with Stupid (Tennant|Lowe)

Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid

See you on the TV
Call you every day
Fly across the ocean
Just to let you get your way
No one understands me
Where I'm coming from
Why would I be with someone
Who's obviously so dumb?

Love comes
Love grows
Every time you rise to meet me
Take my hand to greet me
Love comes
Love grows
And power can give a man
Much more than anybody knows

Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid

Before we ever met
I thought like everybody did
You were just a moron
A billion-dollar kid
You flew up all the way
Like a hawk chasing a dove
I never thought that I would be
A sacrifice in love
It comes
It grows
And now we're tied together
Everybody knows

Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid

Is stupid really stupid
Or a different kind of smart?
Do we really have a relationship
So special in your heart?

Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid

I have to ask myself
Like any lover might:
Have you made a fool of me?
Are you not Mr Right?
You grin
I pose
It's not about sincerity
Everybody knows

Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid
Oh-oh, I'm with Stupid

Is stupid really stupid
Or a different kind of smart?
That's how you stole my heart
I'm with Stupid

Not just words.


Where angels fear to tread
I've sometimes walked and tried to talk
but how can I be heard
in such a world
when I'm lost?
I'm doing what I do
to see me through...

Just Letters...



Review|Pet Shop Boys @ Radio City

©Rahav Segev for The New York Times

October 16, 2006
Music Review | Pet Shop Boys
No Longer Puppies, the Pet Shop Boys Are 20

In 1986, two British fellows obsessed with dance music released “Please,” an album full of meticulously engineered beats and infectious songs that weren’t nearly as silly as they first sounded. Twenty years later, Neil Tennant and Chris Lowe are still the Pet Shop Boys. And they have aged surprisingly well.

They came to Radio City Music Hall on Saturday for a sold-out concert, which may surprise listeners who associate them with only their 1980’s hits: “West End Girls” and the rest. The concert was a reminder that these two have kept busy, recording elegant pop songs that often manage to be sly and silly at the same time. In Britain, where they have remained pop stars, their albums invariably crack the Top 10. In the United States, judging from Saturday’s show, they attract an appreciative crowd in which women are a distinct minority.

The most recent Pet Shop Boys album is “Fundamental” (Rhino), which reunites the duo with the pop producer Trevor Horn. It’s also an explicitly political album: in “I’m With Stupid,” Mr. Tennant, who is gay, imagines the unhealthy (but passionate) relationship between George W. Bush and Tony Blair. When he sang the song on Saturday, the satire seemed pretty hackneyed, but the love story still sounded intriguing. “Fly across the ocean/ Just to let you get your way,” he sang, sounding less like a Labor leader and more like your average sad-sack boyfriend.

The duo’s current tour, with a brilliant stage set by Es Devlin, emphasizes the members’ love of machine music. For most of the night, Mr. Lowe’s small keyboard was the only instrument onstage. (As a rule, he doesn’t sing, talk or move.) And while Mr. Tennant worked the stage, sometimes trailed by two dancers and three singers, images and letters and colors were projected onto a big white cube that split into three square panels, which were nimbly arranged and rearranged by two stage hands in white hazmat suits.

On albums, Mr. Tennant’s thin, ultranasal voice sounds great on top of those thin electronic beats. Onstage, though, he sounds — well, he sounds like a guy who is smart enough to make sure there are plenty of visual distractions. During “Minimal,” an oddly engrossing song from the new album, he exhaled the simple words (“M-I-N-I-M-A-L/ Minimal, minimal”) over a suitably skinny-sounding track. Then the two segued into “Shopping,” an old favorite in which Mr. Tennant also spells out the titular word; this show is nothing if not well planned.

Tuesday, October 17, 2006

1,000th Post|A True American Hero

In saving the lives of others,
and sacrificing his own,
this man, whom I never met,
saved my life, on more than one dark and lonely night.

And there's no movie script here:
he was born on the 4th of July.

If a picture's worth 1,000 words,
I'm waiting on the text,
from the source.

And a digital shot of the great pen + ink rendering of this photo.

You have in you a great voice, however quiet.
Let's hear what you have to say, Mister.

Dear Friends|Queen [Brian May]

So dear friends
Your love has gone
Only tears to dwell upon
I dare not say
As the wind must blow
So a love is lost
A love is won
Go to sleep and dream again
Soon your hopes will rise
And then from all this gloom
Life can start anew
And there'll be no crying soon...

Monday, October 16, 2006

Countdown|Post #999 [Guest Blogger.]

No matter who you are.
No matter your age.
No matter your flavor.
Love comes quickly.

For OrangeMercury's 1,000th posting,
we're having a green spotlight shine on
someone dead, red, white, and blue.

Yet very much alive.

Note: green, send me the text and photos in an e-mail and I'll post it. I'm not posting again until you send me the info I requested.

Don't try and stop the presses. Write something as soon as you see this,
and grab a photo to go with it, and shoot it my way.

Just fucking do it.


This is going out to Star #612 in Freddie's universe.

Let me just say if you are gay and 46,
this tune resonates.


I came across a cache of old photos
And invitations to teenage parties
Dress in white one said, with quotations
From someone's wife, a famous writer
In the nineteen-twenties
When you're young you find inspiration
In anyone who's ever gone
And opened up a closing door
She said: We were never feeling bored
'Cause we were never being boring
We had too much time to find for ourselves
And we were never being boring
We dressed up and fought, then thought: Make amends
And we were never holding back or worried that
Time would come to an end
When I went I left from the station
With a haversack and some trepidation
Someone said: If you're not careful
You'll have nothing left and nothing to care for
In the nineteen-seventies
But I sat back and looking forward
My shoes were high and I had spots
I'd bolted through a closing door
I would never find myself feeling bored
'Cause we were never being boring
We had too much time to find for ourselves
And we were never being boring
We dressed up and fought, then thought: Make amends
And we were never holding back or worried that
Time would come to an end
We were always hoping that, looking back
You could always rely on a friend
Now I sit with different faces
In rented rooms and foreign places
All the people I was kissing
Some are here and some are missing
In the nineteen-nineties
I never dreamt that I would get to be
The creature that I always meant to be
But I thought in spite of dreams
You'd be sitting somewhere here with me
'Cause we were never being boring
We had too much time to find for ourselves
And we were never being boring
We dressed up and fought, then thought: Make amends
And we were never holding back or worried that
Time would come to an end
We were always hoping that, looking back
You could always rely on a friend
And we were never being boring
We had too much time to find for ourselves
And we were never being boring
We dressed up and fought, then thought: Make amends
And we were never being boring
We were never being bored
'Cause we were never being boring
We were never being bored...

Countdown|#1 on the floor.

What the fuck are you reading this for?
You should've already downloaded the fucking mix.

Countdown|Love Comes Quickly|PSB Remix

Love Comes Quickly

Sooner or later, this happens to everyone
To everyone

You can live your life lonely
Heavy as stone
Live your life learning
And working alone
Say this is all you want
But I don't believe that it's true
cause when you least expect it
Waiting 'round the corner for you

Love comes quickly, whatever you do
You can't stop falling (ooh ooh)
Love comes quickly, whatever you do
You can't stop falling (ooh ooh)

You can live a life of luxury
If that's what you want
Taste forbidden pleasures
Whatever you want

You can fly away to the end of the world
But where does it get you to?
'cause just when you least expect it
Just what you least expect

I know it sounds ridiculous, but speaking from experience
It may seem romantic, and that's no defense
Love will always get to you

Sooner or later, sooner or later, this happens to everyone
To everyone

You can fly away to the end of the world
But where does it get you?

Sunday, October 15, 2006

Countdown|Photography: Taking a 2nd Look

I just gave myself more work! Within the next few days, I'll be hyperlinking all named artists to either their home page, or the best reference to them on the 'Net.


Anyone looking to purchase more than ten prints from me?

From the New York Times:
October 15, 2006
For Photography, Extreme Home Makeover

Los Angeles

WHEN the J. Paul Getty Museum decided to quadruple its exhibition space for photographs, the obvious goal was to trumpet the breadth of its holdings in the medium: some 31,000 works acquired in a mere two decades.

Yet at a museum best known for Greek pots and old master paintings, the move was also a way of proclaiming the Getty’s relevance to the here and now — and more broadly, affirming photography’s global importance as an art form.

“Photography is our bridge to the modern world,” said Michael Brand, the director of the museum, whose new Center for Photographs opens to the public on Oct. 24. “It’s our only link to the 20th century.”

Photography has become a churning art-world industry: more Chelsea galleries are devoted to photographs; the number of photography books published has dramatically increased; the value of photographs sold at auction annually has doubled since 2001; and even the average size of photographic prints has grown.

The Getty’s photography collection, among the finest in the world, includes more than 100 works each by William Henry Fox Talbot, Julia Margaret Cameron, Roger Fenton, Gustave Le Gray, Alfred Stieglitz and Walker Evans. Some 150 living photographers are also now represented in the collection, and the Getty has embarked on a campaign to add 300 more.

Weston Naef, the curator of photographs, encourages private collectors who plan to donate works to the museum to acquire individual photographers “in depth.” The goal is to represent each living photographer with more than 10 images, Mr. Naef said, because an artistic signature becomes apparent only when one can look at multiple images from the body of work.

The vast expansion of the gallery space — to 7,000 square feet from its original 1,700 — was precipitated by the Getty Villa’s reopening in January. Moving the Greek, Roman and Etruscan antiquities to their permanent home at the Villa opened up the lower galleries in the west pavilion at the Getty Center.

Over lunch in the Getty Center’s airy dining room, Mr. Naef discussed the case he made to claim the space for photography.

“It has to do with the numbers,” he said. “Month after month for 10 years, our exhibitions have attracted 40 to 50 percent” of the Getty Center’s visitors.

“Of the 1.3 million visitors per year, 700,000 come for photography shows,” he added. “I have the highest audience share of any museum in the world.”

While photographs constitute only one of six collections at the Getty — the other five are drawings, paintings, sculpture and decorative arts, manuscripts, and antiquities — the decision about who would be given the west pavilion galleries also turned on practical issues.

The drawings collection, for example, isn’t large enough to require 7,000 square feet. More to the point, paintings, sculpture and decorative arts all need to be shown in natural light, while photographs will fade if not shown under controlled lighting. The upper galleries all have skylights; the lower galleries, having no natural light, are ideal for exhibiting photographs.

The Getty has 58,000 square feet of exhibition space, and the number given over to photographs now exceeds that of many major museums. The Museum of Modern Art, for example, has 125,000 square feet of gallery space and devotes 5,700 to photographs. The International Center of Photography, with 6,800 square feet, has “the largest dedicated space to photography in New York City,” said Willis E. Hartshorn, its director. “But that’s because we’re all photography all the time.”

Mr. Naef said the museum began considering two years ago how to use the space. “By the fall of last year we had a good idea of how we wanted to configure the galleries,” he said. “Michael Brand made this project a high priority, as one of the first important decisions, when he arrived in January. Construction work began double-time early this year.”

The morning that the polished solid white-oak floors were unveiled, Mr. Naef took his first solitary walk through the photography galleries. “I squealed with delight,” he said afterward.

The exhibition space, while tailored to the needs of the photography department, is consistent with the plush look of all the museum’s galleries. A spacious diagonal exhibition corridor spans the entire lower floor of the west pavilion, with five individual galleries set off on either side. The galleries can be segmented for separate small shows or opened to traffic flow throughout the floor.

Each gallery is approximately 30 by 30 feet, consistent with the geometry of Richard Meier’s design for the entire Getty Center, based on 30-inch grids. (Even the travertine marble bricks on the exterior facade are 15 by 30 inches.)

Mr. Meier designed a new entrance for the west pavilion, adding an exterior canopy and a structure for exhibition banners that can be seen across the Getty Center’s grand plaza. The exhibition design department at the museum designed the galleries; Houston Tyner is the architect of record. The cost for the new entrance and the reconfigured galleries was about $2.3 million.

The galleries will open with “Where We Live: Photographs of America From the Berman Collection,” an exhibition of 168 images by 24 contemporary photographers that have been given or lent to the Getty by Bruce and Nancy Berman. A survey of the American social landscape, it includes work by Robert Adams, William Christenberry, William Eggleston, Mitch Epstein, Joel Meyerowitz, Stephen Shore and Joel Sternfeld, among other contemporary photographers. Since 1998 the Bermans have given 467 photographs to the Getty.

Mr. Naef plans to have photographs on public view at all times. “We have one of the great collections anywhere in the world and it’s meritorious to show more of it,” he said. Until now the photography galleries were dark for eight weeks a year during installations between shows. Because of the limited space, many works in the collection were never exhibited.

The new galleries will provide flexibility — not only in how many photographs can be hung but also in the size of the prints that can be shown.

“Pearblossom Hwy, 1986,” by David Hockney, for example, is a 6-by-9-foot image and the largest piece in the photography collection. It was last exhibited in 1998. In the second in a new series of exhibitions, “Photographs: Re-Imagining Art,” it will be the focus of a show that addresses the influence of Cubism on Mr. Hockney’s work.

After lunch, walking through the climate-controlled storage area where photographs are kept, Mr. Naef pointed out the “earthquake mitigation” design of the 3,000 shelves. The shelving units are connected directly to the superstructure of the building, and the shelves are angled to be lower in back, to prevent the boxes of photographs from sliding out if a tremor hits.

Now, finally, with its spacious new showcase, the Getty can bring more of those images out of storage. “Photography has become a full-blown artistic medium in its own right,” Richard Armstrong, director of the Carnegie Museum of Art in Pittsburgh, said by phone about the Getty expansion. “So if you have a high-quality collection, why not just put it on view?”

Countdown|The Sodom & Gomorrah Tour 2006

Off the hook at Quality Meats.
Chad the lad at Bar Americain.
Stoopid at Radio City.
Crazy fucking stoopid at the Virgin Megastore in Union Square.

I wouldn't normally do this kind of thing.
People say I'm crazy.
I tell them that it's true. –Pet Shop Boys

You only tell me you love me when you're drunk. –Pet Shop Boys

Best use of florescent lighting outside Home Depot.
And the morgue.

Countdown|Veni, Vini, Vinci!

I went.
I saw.
I shook their hands.
I shared a joke.
I secured a personal autograph.

I never want to lose touch.
I'm so flamboyant.

Oh. Mr. Green's a goofball for passing on this one.
And Austen's just a goofball for passing on THIS one...