The Museum of Bad Art

Teresa, with "Green Figure on Sharp Rock." The curator wrote: "a work of profound sadness. An ocean-skinned nymphet, her bottom abraded by barnacles, surveys her options in the face of an unpleasant storm." Also, "Hollywood Lips," by Tiffany Nelson. "In Hollywood, even the palm trees have had work done."

Click on the title to check out this place. Tony rented a car for work stuff for a day, which meant we were suddenly, effortlessly mobile for an evening, so we grabbed Max and Teresa and drove to Dedham to see the Museum of Bad Art in the last hour before it closed. Thank you Paul Hastings for telling me it existed.

The Museum of Bad Art is a collection of paintings that were found in the trash, in thrift stores, or donated by people who recognized that they were never going to make it in the big time as genius of visual media. Normally, I try to avoid bad art, especially since I have to spend so much of my time reading bad writing. (I mean, "student writing," which, according to the theorists, is a VERY different thing.)

But no matter. When you descend into the yellowish basement, on your way to the bathrooms at the Dedham Community Theater, suddenly you enter a world where the worse the art is, the more wonder and awe and pleasure it produces. Mike Frank, the curator, has written interpretive cards for each painting, which, of course, are the highlight of the experience. And it's the same type of pleasure as Mystery Science Theater 3000--where the insanity of the original media is compouded and enhanced by comedic interpretation. (If you don't know, you better go to MST3K)

I think the publicity will be more important, in the long run, than any worries about copyright here, so I'll give you a mini-tour. Here is Tony, emerging from the Men's, next to a painting entitled "No Visible Means of Support."

This one is called "Thornton's Pond," and it was acquired from the trash. "The sky exhales a feathery rush, defying reflection in the murky alpine waters."

Max's favorite. A color-pencil drawing of a cat, with a kind of ghostly dog hovering over him. Titled "He Was My Friend." One the largest, about which there is apparently a grand debate, regarding its level of "completedness," due to the empty, vacant eyes...

My favorite, "The Waterfall," which appears to be one of those endearing efforts towards "happy trees." The curator chimes in with "snow-capped peaks tower over this summer meadow featuring evergreens, wildflowers, and a waterfall of mysterious origin."

After our excursion to the MOBA, we ate a resoundingly bad meal at Bertuccis, and tried to see it all as a package, as a perfect evening in the suburbs. We got close, I think. We got close.

Thanksgiving in March

During my spring break last year I took a trip to Bali. My best girlfriend of fourteen years, Melissa, was on the last leg of a long few months traveling in Asia, all three schools I worked at were on break at the same time, and I had some wiggle room on my credit card. This is a picture of a few Balinese offerings, which were placed on the ground outside every home, store, and temple. They're part of a particular strain of Hinduism practiced only on Bali. The trays themselves are about 4 X 4 inches, and as we walked the streets of Ubud we saw many women sitting on the front steps of their stores, weaving basket-trays for the next day's offering.
We met amazing people. We watched the sun set over the ocean at Ulu Watu and Tanah Lot. We marveled at the Kecak dancers and bought small piles of batik. We ate these painfully delicious banana pancakes by the little pool at Artini Cottages. Let me not waste too much time telling stories of "My Enchanted Days on Bali," since it's been done, it's all true, and I'm saving it for some essay sometime.
Let me instead remember that I wouldn't have gone on the trip if it hadn't been for Melissa.
I'm on spring break again, and this time I'm staying home in Cambridge, getting caught up on paper grading and novel-writing, cleaning out the closet, organizing many piles of papers that have accumulated over the past six months, drinking tea, and waiting out the winter. I'd feel sorry for myself except that yesterday, very casually on the phone, I reserved a spot in my godmother's cabin on a cruise to Alaska in July.
This means that this summer, I will spend over two weeks in France and Italy with my dearest friends and closest other family, the Cristofanis, return home to co-direct a summer camp, then scoot out to Seattle and spend a week with godmom Susan in Alaska, before returning to California to prepare for Burning Man.
I'm overflowing with gratitude to the people who love me enough to help make this kind of life possible. I work incredibly hard to pay for as much as I can, but I would never be able to do this kind of traveling if I didn't have generous help, and groups of people who believe in community traveling, sharing experiences, and the fundamental value of diving into the new, together. Sometimes being a writer means that others invest towards your uncertain future--offering you adventures or chances at solitude that will likely help your work. Many writers never feel the kind of support I do, financially or emotionally, and think that either (a) people like me were born with money or (b) we DO something in particular, like in a bartering system, to be given such opportunities. When I explain that my family was middle-middle class when I was young, with no money for international travel, and that I offer nothing in particular but my love, sense of wonder, and shared future wealth/experience with those who share with me now, it seems insane!
But it is real.
When I was 24, and had been working full-time at the Veteran's Hospital in West LA for two years, in addition to working nights performing with the Toledo Show, I decided I was ready for a change. I gave notice at my job and Melissa and I planned a trip to Thailand. On my last day at the VA, my coworkers threw a party. After I convinced them that the trip was actually rather inexpensive, I still was met with some incredulity.
"Why do you get to go on this trip?" one of the bosses asked me. "I've been working here fifteen years and never been on a trip like this."
"I get to go because I'm going," I said, as I'd run out of other explanations.
I'd told them that I was going into debt for it, that I wasn't sure what I'd do for money when I got back, but that I was certain I'd work it out. I'd told them that Melissa and I wanted to do this adventure together, and that neither of us had been to Asia at all before. I'd tried to convince them that it was an exercise in creative, as well as physical, freedom. But in the end, the truth was that I "got" to go because I was willing to, and because I had people in my life willing to help.
So today I extend my gratitude to everyone who has included me in their adventures, shared time and space and food and income with me, offered me chances to do things I wouldn't otherwise be able to do, and had faith in my ability to truly assimilate and benefit from these experiences. I also extend gratitude to myself, for staying open and receptive to these possibilities, for giving everything I can in return, for continuing to write, and for cultivating adventurous community.
Now, I'm going to turn the heat up and pretend it's May already...

Why We Need All the Kings Men

Saturday night I ventured down to Eliot Hall in Jamaica Plain to attend a fundraiser show for All The Kings Men. As a Boston performer in the alterna-sexy scene, I like supporting anyone who's willing to try out some new kind of performance. Okay, drag isn't "new." Women dressing up in male drag isn't at all new. Nothing about this show was really new--I'd seen most of the numbers before. But the reason why it strikes me as such is actually kind of complex.

When I lived and worked in the much more mainstream-sexy scene in L.A., performers who did comedic routines, and especially comedic routines that involved comments on gender, were not as respected as those who could do reasonably well-enacted plagiarisms of the Pussy Cat Dolls' music videos. It was somehow more important for dancers to attempt to live up to the hetero-normative gender ideals than to question them, play with them, or, God forbid, defy them. This ultimately got exhausting for me, even as I participated by dancing in shows that glorified the ultra-feminine. What's exhausting is just the lack of diversity in that scene.

Hence, my sense of the Kings Men as being "new." In a sort of historic reality, they are accessing many years of gender discourse, especially the very fun queer theory subfield of gender performance. But for someone who has seen a shitload of dancers and drag queens and performance art and sketch comedy and DIY burlesque, ATKM are a treat.

They aren't perfect--most of them can dance, most of them can act. A few of their sketches are a little cluttered. But when they're on, when they've hit something topical and perfect and uncomfortable and odd, and when their energy is high, they're an absolute delight. They did an incredible version of "SexyBack" that had moments of simple spoofing Hollywood video-dance, moments of actual sexiness, moments of seat-squirming chemistry between performers, and moments of just great unison choreography.

One of my favorites is "Wake Me Up Before You Go-Go," where two Men are dressed in jeans and T-shirts, obsessively combing their hair. The song is a gay anthem, yes, but these two dudes are totally not gay. At least, not at first. During the course of the song their attraction builds, and by the end everyone is cheering at their onstage kiss and adorable chase-my-ass exit. Women, dressed as closeted gay men, who then out themselves to fall in love. That ATKM can demonstrate the affectations of every sex/gender permutation--and it's true that a stereotypical feminine girl moves her body differently than a stereotypical flaming gay man--is not only impressive, it's hilarious.

They call themselves "Drag-based" performance, which is a great turn of phrase. One of their performers (almost?) never appears in drag--she's got long curly locks and plays the femme/female whenever one is needed. Their finale is a lip-synched "Thriller," which not only showcases their strongest performer (as Michael, of course) but gets all of them, as asexual zombies, dancing the absolutely MOST unsexified dance that ever made it big time on TV. Sure, there's pelvic thrusting, but it's Michael style--no real object, no real implied penis, and the "women zombies" in the original video do it too. The only one in obvious drag in that number is the one who plays Jackson, and his embodiment is perfect--nuanced with Jackson's very idiosyncratic mix of gendered movements--now macho, now effeminate, now something robotic and without genitalia.

So I like ATKM because they're good, and I like them because whether they mean to or not, they change the nature of the dialogue surrounding gender and peformance by reminding their audience of the incredibly varied, even infinite ways to enact/show/wear/embody sexuality, without its being tied up in male/male, male/female, female/female categories. You have no idea who's straight, gay, bi, trans, or some other more complicated, unlabeled sexual being, while you're watching. And it doesn't matter. You are allowed to want or not want them all.

This isn't just about the ultimate acceptance of the diversity of human sexuality, it's about getting everyone to take a closer look at their own costume, every day.