Give Me Back My Wig

Maybe 14 years ago-- maybe more, I was in Chelsea where I often 'sit' for a friend's gallery... and lo and behold... the street was closed off, all kinds of black official vehicles lined up, complete with NYPD and massive security.. Could President Obama be looking at art? But apparently the small mob was entering our building... the Balenciaga store, pre-Hurricane Sandy, was one flight below.  Within minutes, I was being asked by a man with a walkie-talkie to allow some VIP to get dressed in the space where I sat, quietly... often alone.  Well, okay... we had a sort of relationship with the store personnel... 

So it turned out it was not the First Lady or some veiled Princess, but Beyoncé herself.  For her entourage, all street commerce had been stopped, gallery traffic disallowed.  My doors were locked and guarded, and the pop 'queen' (she did kindly nod her head at me in appreciation) herself began to disrobe in our unwindowed packing area.  No photos, they requested, as she was quite exposed in my makeshift dressing room.  I never even looked.  In less than an hour the street was returned to its normal state-- all signs of the visitation had disappeared.  Presumably Balenciaga was significantly compensated in sales.

I admit I was a fan of the Crazy-in-Love phase... how could you not admire those thighs and her dancing?  For a second there, she had the Tina Turner star power-- she could sing and dance.  But then there was the blonde thing... I mean, for young black girls-- is this the model we want to admire?  What happened to natural hair and loving one's color?  I'm old but recent years have blurred the lines between the Kardashians, the Beyoncés, the pop stars.  All the wigging and facial modifications-- the make-up and the image-creation... 

And all these celebrities crossing lines-- athletes who act-- models who sing, actors promoting everything from Bitcoin to life-insurance... Subway.  Aren't they well-paid enough?  Or does their hungry management advise them to take on these mega-contracts and endorsements?  Beyoncé... she and Jay Z have created a mega-fortune.  Do we have to see her on Super Bowl commercials literally raking in the massive additional dollars and wearing a small fortune while half the world starves?  

Art, they called her new album cover, where she is not very believably or even actually side-saddling a white horse.  White is the operative word here-- the horse, the hair, the culture.  Her explanations don't make sense; I don't particularly want to explore my personal patriotism by mingling with MAGA hat wearers.  Not that the country image hasn't evolved, and not that its traditionally all-white audience and deeply embedded racism haven't been updated... but Cowboy Carter seems more like a massive bad joke than an image.

It's  not that I am bitter or envious or hateful; I admit I haven't much listened to the last 20 years of Beyonce.  I'm already sick of the constant cameos in our culture-- inaugurations, award shows... twitter feeds; it's unavoidable.  Suffice it to say, besides Hank Williams I have never been a huge fan of country music.  Touring with rock bands, the fundamental Christian reluctance of certain audiences to embrace science, the backwater racist and sexist comments sort of reinforced this.  Many of my purist Nashville friends shun the current wave of country pop stars as inauthentic.  Still... who can resist Dolly Parton? Beyoncé could take a few lessons from her brand of authenticity, wigs, make-up and plastic surgery notwithstanding. 

I guess when I heard snippets of the new version of Jolene-- unavoidable here-- well, that put the proverbial stop on things.  And I'm sorry if I've ruined someone's Easter... but I've heard at least a dozen covers of this iconic and heart-wrenching song... and to say this new one does not do it justice is kind of an understatement.  Coupled with that cover, the inherent irony... what is cowboy about Beyoncé besides the styling?  And the photo more like a Jeff Koons version of ad-absurdum with a little Richard Prince tagline left hanging.  Dave La Chapelle Does Dallas?  Lady Godiva at least had a sort of platform. 

Give me Roy Rogers and Dale Evans... National Velvet... I don't know... I was a cynic back when Elton John released Tumbleweed Connection.  A gay English cowboy? It seemed so inauthentic.  But now the whole banned-book narrative, the Tennessee political atmosphere-- the bigotry, the Bible-toting hypocrisy-- while the world burns.  What can we expect next-- Beyoncé on the throne, scepter and crown... but she's already been 'Queened'?  What is the damn message here?  I don't want to read or hear another commentary.  Let someone else search the internet for the white-horse symbolism and mythology.  It's Easter; Jesus rode into Jerusalem on a damn donkey. I just want my music with a little less pomp and airbrushing and a little more circumstance and soul. Aretha, we miss you so terribly.

The Loop

I've been reading Jacques Roubaud.  It's not simple; he's a mathematician, a poet-- a member of the Oulipo group, along with Queneau and Perec, who use restrictive writing techniques and exercises to create their work.  But he's also an obsessive observer and among the literary labyrinths and obstacles, there is this awareness of life that dazzles.  Walking, he says, decades before cellphones and technology were portable, is a conversation with time.  

My habits of running and distance-walking evolved as a kind of therapy for the grief I experienced in 2020, after the death of Alan. I'd circle the park, cover the half-empty city streets, and count to myself... as though the intimacy of numbers had some message for me... like a non-verbal language.  The way mathematicians think about numbers is beyond my simple comprehension, but there are patterns and colors somehow, that belong to certain sequences... and most poetry has always kept a certain musical count-- its rhythm, its meter.  

Photography, according to Roubaud, is a conversation with light. This, too, obviously way before the massive daily output of digitally cheap images. And also linked with time... the shutter speeds, the slowness, the developing. There were exactly three photographs of my Grandma in our house; only one vague image of her parents, posed formally and sepia-toned with a sort of monogram scratched into the corner of the paper. 

I confess I watched some minutes of the Academy awards... enough to see Billie Eilish whose delivery I have begun to find affected and pretentious.  I don't find her song 'winning' and her effort to avoid a body-image statement has resulted for me in a fashion overload.  It's like a doll with make-up and too many outfits.  I don't get it.  What is amazing is the technology to deliver an audio performance of breath... a far cry from the dive-bar culture where one sang one's throat out over loud guitars-- no earphones or monitors... sometimes nothing but amplifiers as a sound system.  And still, there is nothing I hear on these recent award shows that dazzles my ears like Mama Say Mama Sah Mama Coo Sah... or whatever he meant.  

Competing with the award show was a 60 Minutes piece on Jeff Koons-- a contemporary of mine whose financial success is boggling. Even his eyebrows were so artificially groomed I found it hard to look during the head-shots.  The factory, the Warhol comparisons-- well, simply... not not not.  The complete lack of imagination and the grandiosity of kitsch is no longer funny or amusing or artistic... it's just, especially in the world of today-- of war and violence and disparity-- a hideous lead-balloon tasteless joke. 

Walking rush-hour streets in the rain this week it occurred to me how few people observe the umbrella etiquette one used to find so natural in London... whether it's awkward tourists, or entitled women-- it seems there's little rain-chivalry and plenty of umbrella competition.  I often feel I no longer belong... block after block of shops that display but don't speak my language-- things that are strange and overpriced and even the ordering process of a simple coffee is overwhelming, as is the payment.  The doormen and groomed security guards outside buildings who look at people like me with haughty disdain.  Not the city into which I was born.  

I still circle the reservoir at sunset-- despite the crowds these days, it's still spectacular.  But last week some mediocre violinist set himself up with a loudspeaker that was enough to provoke a duck migration.  That woman who assaulted the subway cellist-- a criminal act, but I suddenly understood her.  Our privileged solitary moments-- our conversations with time--  are difficult enough without intrusions. So little silence in a city... musicians especially should be sensitive to the space between. 

So I guess I prefer to bury myself in a French novel and to sense the time it takes to walk from the West Village to Harlem-- sometimes with Coltrane in my headphones, sometimes Morphine or John Lee or even nothing... to speak occasionally with a man in a wheelchair who sits outside the projects with a boombox playing old R&B and tells me Pain might be his only friend now.  I could cry.  Worthy of an Albert King song.

Oh what will you give me...

When I was 16, my parents sent me on one of those international exchange programs.  I chose Mexico where I lived as a native in a rural place in the state of Veracruz.  It was a life-changing time; my host family had never even seen an airplane-- had no electricity or plumbing-- and there was nothing but our common humanity to provide a basis for bonding.  I ate strange food, rose with the roosters, lived simply and without worry.  At the end of my stay, all the students in the Americas met up at an international conference in Mexico City at the soccer stadium, where I was asked to play my guitar and sing something uniquely American.  I performed Universal Soldier in front of a massive audience; I even got an encore.  Racking my brain to find a song promoting world peace and unity, I tried out The Bells of Rhymney but halfway through the second verse realized I didn't know the words.   I choked, left the stage while the announcer mumbled something about la señorita being 'muy despeinada'.

After I met Andy Warhol several years later (he often passed by the gallery where I worked)  I told him the story, as my first public humiliation.  He laughed and said as long as no one filmed it, it wouldn't be held against me.  I wanted to ask him if that might have been my 15 minutes, but he didn't really like questions; he liked answers.  So many years later, I still dread solo gigs, as much as I feel this is as close to my real core, and am somehow compelled to subject myself to this.  I've analyzed and analyzed: who cares if I'm terrible?  Plenty of people are terrible?  Nothing helps, and really, few people care.

I'm not sure if it's my age and impatience, but I've recently found myself reacting with increasing bitterness and cynicism at the state of culture in general.  Music disappoints; I rarely see films or concerts-- I cannot really afford these things anyway.  I know Carnegie Hall lives on, the Philharmonic-- and maybe this is a sad omission but I don't miss them; I have cds and records.  What I do miss is the complete paralyzing excitement of seeing something like the de Kooning women in the 1960's-- Andy's wallpapered room of cows-- the first Graffiti show, early Jean-Michel… Hendrix.  John Lee Hooker-- before I knew about him, or Tim Buckley in the 1960's.  I've wondered if I'm just too old and ruined to see anything with new eyes.

My neighbor is a famous editor and writer.  His work is indisputably important and post-modern.  He is critical of what I do, although he occasionally praises me.  There's a certain snobbery in his circle; contemporary writing has to be tough and terse.  I browsed one of his recent books; one section is just a list of words… difficult words, uncomfortable words outside of most people's reach.  Okay… maybe like a Donald Judd or some minimal sequential thing-- but Judd has a certain universal, unpretentious simplicity.  The literary version is awkward and I hated it.

Personally I know my poetry is flawed; it is human and personal and maybe too emotional.  It is overly confessional and sympathetic, and I want it to be accessible and not difficult.  I think I'm not sure whether at this stage of my life I'd fall in love with Proust again, or be able to read Georges Perec or even Jean Genet with the intensity I gave these so many years ago.  I might be critical of Henry James now, or find Trollope excessive or silly.  I cringe occasionally at Anne Sexton; I worshipped her in the 1970's.  Some of the books my neighbor promotes-- well, they are brilliant, in a way--- but they do not sweep me off my literary feet, and I care little for the characters.  The language doesn't get in my blood.  I want to be better, and I want my heroes to be better, as well.  I am not claiming to be an artist or a great poet, but I do want to be read, and understood.

Again, I am not sure what I am expecting.  I do know that few millennials have the sense of context that my generation was given.  Education has changed; history, aside from phenomena like Hamilton-the-musical, seems less pertinent to this generation.  We used to be able to look at a painting or hear a recording and place it in a timeline; not so, now.  Reading has changed for so many, and the way people perceive music.  They listen to so many things simultaneously, while multi-tasking; even volume has become subjective.  Art seems to play to this audience-- it is rare that I enter a gallery and find quiet simple canvasses.  There are crowds and chatter-- phones and selfies.  There is theatrical lighting and music and there is performance;  at my one and only visit to the new Whitney, there were roving performance artists; they were embarrassing and distracting.  I could not 'hear' the paintings.

But most of all there seems to be this sense of 'self'… I mean, even Andy Warhol had anxiety about his work-- insecurity.  A true artist hears his voice and executes as best he can, but he is never sure-- he has doubt and asks questions.  He knows his work is a process.  This culture seems to be so sure of itself-- so smug and narcissistic.  And a majority of the audience is obedient; they like what they are told to like, they hear what they are given, they wear what they think they should wear, what their 'icons' wear.  This worries me-- the diversion and commercialization of the process.  Art and fashion have become bedfellows; this has energized fashion but cheapened art.  And while I detest the massive cultural joke of Jeff Koons, I am also left cold by the more pretentious, dehumanized, technology-heavy exhibitions.  And there is so much out there-- trillions of images and soundbytes-- so much spectacle-- so many celebrities and events, a million channels.  How can we expect anyone to connect deeply and intimately with ideas the way one reads an old book in a quiet room?  Somewhere in every country, artists are despairing-- important canvasses and books are burning in a digital bonfire.  A sacred tree is surely falling at any given moment in a night forest, and no one will hear.

Still, I have this relentless need to communicate, which I think is the seed of all art, and a certain faith that I may touch even one person, or change something.  I suppose the experience of being dropped into a strange cultural river at 16 taught me a certain lesson… and I am grateful for The Bells of Rhymney, the riveting and beautiful words of a Welsh coal miner who educated himself, which somehow found their way into music and onto my teenage record player and changed my life.

Purple Reign

As the world becomes smaller, information mushrooms, and roads of communication multiply faster than bacteria, generations of cultural phenomena grow smaller and smaller.  Nostalgia is recent and cheap-- songs are recycled and sampled at shorter intervals-- art movements are re-packaged and re-hashed almost as quickly as iPhones become obsolescent.  We download and delete, download and downgrade, download and forget.  Like super-sized boxes of girl-scout cookies, we can't really tell one bite from another, and after all, there is an endless supply of a limited assortment.  What's the point, really?

The whole Warholian joke has become so top-heavy we've forgotten to see the irony in Andy's leavings after all… we're so busy calculating value and counting possessions, we can't see the financial hoax is on us.  Money doesn't seem to be something we laugh about; like dick size, it's something some people obsess over in men's rooms, bedrooms, over lunch and in boardrooms.  It's cheap.  A million dollars is nothing to brag about; a billion-- well, that simply guarantees you a bib in the Wall Street half-marathon.

And what is a 60-million-dollar penthouse in a brand-new phallic glass tower but a place to entertain, to invite designers and decorators to compete for spread, a few walls on which to display your new paintings which are hopefully worth more at market than your apartment which might as well be a hologram?   None of these air-pads existed in the vintage, solid structural versions of real New York we see in old photos and film footage.  They are ghost projections into some future-- air rights become architectural wrongs.

Today I previewed a show of nouveau-grafitti.  Deftly presented, apartment-ready wall-souvenirs which seemed about as impassioned as papier-mâché tacos.  One after the other--the text was vapid, the colors were pastel-pretty, the technique was thin, facile and uninspired, and each whole thing seemed to represent about four minutes of the life of a phone-wielding self-promoter.  Canvas to facebook, to tumbler, to instagram… in less time than an average pop-song.  It wasn't even like I've seen these before.  It was more like something I would never have looked at-- things that didn't deserve a wall-- bad wrappers on generic candy sold in the bus stations of poor countries.  Ready-made Forever-21 art.  Not even kitsch because these people were standing by and taking themselves seriously.  There were prices posted on labels which any reasonable person with an eye might have mistaken for lire or yen.

Of course there were some less wieldy objects, some Banksy-esque garbage-rescues which were decorated or spilled-on or sprayed or mutilated…. a few collages and framed relics…  and then on to the Metropolitan Museum-- my revered house of the art-holy, where one hour before closing, the guards were playing a version of chutes and ladders--- walling off rooms and corralling the tourist crowds into the halls of Greek and Roman, of Oceania and African… I managed to exchange a wink with the Picasso Gertrude Stein who was annoyed at having to compete with the Costume Institute crowds and still wondering how some of her neighbors were getting along politically.  I had a terrible thought that one day in the near future some museum might be hung in order of value.  Descending, ascending… will there be a time when a digital ticker-tape will circle the galleries with daily artist-stock information  and auction results? Or is that someone's conceptual exhibit?

Saturday evenings at the museum are not really the time for serious contemplation-- kids running around playing tag in the Temple of Dendur, shoppers and baby-toting, eaters and drinkers, gossipers and strollers--- I almost missed the days when the magazines suggested single New Yorkers try to look for mates in these places.  Now nearly everyone was taking selfies and consulting their phones.  At least I didn't pay full price.  In fact, an evening rain-shower kept the emerging crowds hovering beneath the monumental pillars and cornice.  I traded my $2 umbrella for a pair of entry stickers; the couple was thrilled at their good fortune and it saved me from the humiliation of having to fork over a meagre $1 each for the privilege of milling around looking for the open rooms at the tail-end of an exhausting art day.

Home to my cherished neighbors and less cherished new neighbors who seem hell-bent on complaining  constantly about my guitarist and poet guests.  Endless renovations have destroyed the integrity of wall insulation in these old venerable buildings and no one cares that the value of my personal privacy has been destroyed.  Mold might be good for you, I would like to say to them.  Stuff is good.  The fact that your decor is minimal and your bookshelves empty terrifies me.  I may have shoeboxes of old polaroids, like Andy did (thank goodness for the market-- these cannot really be forged or reproduced, only faded)… but they have obese, messy instagrams and tumblers--- terabytes of data and family videos they couldn't watch in six lifetimes.  Money in credit cards and online funds and assets which wouldn't fit in any traditional safe… email and texts enough to fill all the theaters of the future with useless dialogue far away into some eternal digital wasteland.

I have a purple Warhol cow visiting at the moment in my living room.  It occurs to me, as she greets me daily, that she looks a bit old and tired.  Her eyes don't follow me with the same attention as I once thought.  She is tired of her frame, of the black marker signature which has made her an icon rather than a milk producer.  And she is one of many thousands.  She is all over the internet… millions and maybe billions, with the harness and her pink nose--- in various sizes, colors… identical.  Forever 1971, or 65, or 86--- whatever date you choose.  A suitable New York wall-pet without shame or upkeep… a symbol of something that belongs and yet doesn't belong in an urban grass-less home.  At least she is not one of those balloon puppies or hideous Koons vases.  But she's a little ashamed that her legacy has been so perverted and her little joke of multiplicity has become so grotesquely distorted.  Still, she doesn't seem to mind her surroundings and she is a little snobbish on the subject of my embarrassing new neighbors.  She greets them with indifference and not even the slightest moo.  She's definitely vegan,  has an affinity for all things Prince, and unlike me, her roommate, has been to most of the best places in the city.  She's a celebrity, a star.  No lemonade drinkers on my wall, no whitewashed blondes on our turntable.  Cows are apparently rather intelligent and I learned today that they hold grudges for years.  Now I know why I like her so much and what Andy was trying to tell us with his wallpaper.  A-cow.

Guns and Noses

The great thing about New York is the diversity, the fact that we're all thrown in together-- the haves and the have-nots.  I mean, there are a few neighborhoods that seem exclusive, but that doesn't mean there aren't homeless people and panhandlers and mixed street traffic in those zip codes.  The garbage is maybe higher priority for scavenging; there are 2 or 3 'teams' who go through the Park Ave. bags at night, gathering bottles and cans; some of the doormen and porters actually expect these people and make their job easier…  a kind of symbiotic thing happening.  Besides, the bottle collectors work incredibly hard; this is their sole source of income, they have large immigrant families who don't qualify for assistance, and they put in long hours in the heat, in the rain and snow and frigid weather.  They deserve a kind of medal or uniform.  Benefits.

I live in a mixed building; there are older tenants with very limited incomes and the new hedge-fund generation owners who require high-maintenance services and raise the cost of living here.  For these people, monthly increases are meaningless; for the rest of us, it means going without what many people find essential.  Most of us in Manhattan embrace the diversity. Of course, I don't see many of my more fortunate neighbors at the Harlem grocers' trying to save pennies--  they don't even go to stores; they order.  I do see them occasionally up at Chez Lucienne or the Red Rooster when they have tourist visitors who are curious, but mostly they frequent the same 'hoods that are comfortable for them.  Harlem is Harlem.  However gentrified it gets, you can always walk a block or two and find some funk, some hustling and street preaching.  This comforts me.

But what I don't get is how these long-standing residents of Harlem can't resent the extreme fortune of some of their new neighbors.  I mean, just today, one of the fat hedge-fund guys from across the street was walking his dog (not a common practice-- they have 'staff' to do this).  He has many times run down his classic rock nostalgia rap, just to let me know how cool he was or is-- after all, who else buys up the charity concert tickets at the Garden which cost more than my annual food allowance?  So just today-- I've been struggling with some plumbing issues, my kitchen lights are flickering-- the usual repairs that will erase my Christmas budget-- and the guy asks me how I'm doing as I pass.  How am I doing?  I'm fantastic, I answer, and under my breath find myself muttering 'you fat philandering fuck'.  Ouch.  Bitter am I?  This guy once had me bring one of my starving artist friends to hang work all over his hedge fund offices, then failed to pay for it.  After the crash in 2008,  his office was shut down, his billion dollar fund went belly up, and I had to get a state marshall to accompany us to retrieve the art which was dog-eared and ruined.  And today?  Has the guy paid back his investors?  Of course not.  He has another fat job which enables him to buy his kids apartments and pay some obscene rent for his own massive residence.  His Lexus SUV shuttles them back and forth to the Hamptons and they are spending Christmas skiing in the Alps.  Whatever. The guy has never even apologized.  His wife spent more at Barney's this afternoon than I will earn for the rest of my life.  Are they better than I am?  Smarter? Luckier? They are a kind of lowlife, in my estimation, with good table manners and pretentious foodie preferences.  They talk a kind of talk I understand, and they operate within the enormous margin of what I would like to call the outsider economy:  the staggering sums which do not exist in every single bank, mutual fund, most corporations, hedge funds--- the 95% or so fictional percent which is loaned, invested, inflated--- but which gives them the audacious collateral and income to live the way they do, without regard for you and me, without values.  Jamie Dimon is another one of my neighbors… has he ever paid back the money that bailed him out?  I don't think so.  His financial profile is so fat it would eat up a whole zip code.  What does he get?  A little bit of early stage cancer that will be cured painlessly?  A huge Christmas bonus that would solve the world's hunger problem many times over.  Go smoke your fat cigars in your cork-lined room, Jamie.  I'll bet you don't even pay ATM fees.

This Christmas what I've always known seems to be getting some exposure: the myriads of charitable organizations and not-for-profits which collect millions and millions from us bleeding hearts have been a little busted-- and lo and behold, an average of something like 6% of intake actually goes to the needy.  The CEOs and directors, the 'event planners' and fundraising directives receive not just the lion's share but the pig's as well.  I am not a violent person, but I begin to see how, for those of us who aren't getting high and watching cable shows until we pass out, there is an amount of anger and deep-seated bitterness welling up.  The murder rate is spiking in New York City.  Mass killings are at an all-time high.  The gun culture is obscene and people will apparently use whatever is at hand to vent.  Peaceable negotiation doesn't seem to be an option.  Rich people have everything, and they also have prescription power--- pain killers, anti-depressants, anti-anxieties-- you name it-- access to spas and entertainment events--- good food, expensive wine-- it takes the edge off.  The poor and not-quite-brain-dead-- some are angry.  Values don't seem to be taught, and religion seems to be another tool that is used to manipulate political goals.  Guns seem effective and they are cheap.

Politicians don't have the limited health-care options we do.  They don't even have college loans.  Who is looking out for their fellow man when the average millennial knows very little about the world beyond entertainment and their start-up culture?  I worry about my old neighbors, about the homeless fucked-over  veterans I see hanging out in East Harlem at the methadone clinics.  Some of these guys go all the way back to Vietnam.  What is going on?   People lose their homes because they cannot make a payment-- and then our entire economy and the whole obese banking system is based on the very business of debt.

A friend of a friend put a gun in his mouth and shot himself 2 weeks ago.  Why?  He left no note.  Of course, he had a gun and at least he didn't use it on someone else.  But maybe if his neighbor had thought to look in on him that night, he would have felt okay.  He was a good person.  Scott Weiland died yesterday--- his issues were complicated… but was he not the product of the whole music business?  The pressure of becoming an icon and being simply a person?  Having the adoration of everyone and the true love of no one?  Not that his behaviors helped elicit sympathy.  I'm a little angry today… angry and frustrated, and if I weren't educated and humanistic and psychologically astute,  it might occur to me to take it out on someone else.

Yesterday I visited a mental health facility where some of the patients and participants were exhibiting their artwork.  It was extraordinary and honest.  They were forthcoming about their issues and brave and creative.  They were swimming against a brutal current and doing something valuable in this culture which places a 9-figure price tag on a piece of crap made by an employed staff of a fake like Jeff Koons in the name of art.  Their work made the mainstream art market look sad and pathetic.  But who will see this? Certainly Van Gogh needed no bodyguard in his lifetime.  Nor even a bank in which to keep his money.  Who among us has not been insane or mad, at least temporarily?  I felt much more compassion and connection with their work than I have felt in a Barnes & Noble or the new Whitney for that matter.

The forward momentum of any great culture requires rebels and punks and visionaries.  Without mental health facilities like these, special people might not have access to their own talents-- they might become self-destructive or violent.  Here they are saving not just themselves, but others.  This is incredibly empowering.  They saved me yesterday from my own emotional black hole.  Their hope and painted dreams and failure to conform to a society that is sick was a kind of rescue.

The Sex Pistols had guitars; they might just as well have had guns, but they didn't.  I feel a bit useless picking up my pen, playing my songs, carrying a bowl of soup to the homeless guy on the corner, having a conversation with the crazy lady who howls outside the grocery store in East Harlem.   Stuff builds up in people, and when it becomes unbearable, they use whatever tool or weapon they have for relief.  Life is meaningless if we don't show compassion for one another, if we don't appreciate people and what they do.  Dogs become mean if mistreated; and why are we all so uber-sympathetic to animals?  It seems so possible to rehabilitate a dog, but not a person?  Dogs are cute--even the old ones.  Humans are not always so cute… especially the old and angry ones who spit and curse and disturb.

I've been seeing the same 'Happiness' statistics recently  over and over-- a scientific study was conducted which concluded that 50% of happiness is genetic, 10% circumstantial, and 40% is changeable-- diet, behavior, exercise, social participation, etc. Why in this world of threatened chemical and biological warfare can we not start an epidemic of kindness and compassion?  Statisticians are obsessed with population growth, ethnicity--- nose counts and data--- can they not poll people about their emotional status and consider this?  Let's at least begin with some human honesty because besides our 10% economic and geographical difference, we are all very, very similar.  And for God's or pity's sake, let's take the guns out of Walmart; no one ever really won a competition of any skill by destroying his opponent.  Amen.

Trash and Vaudeville

At any given moment, assume one of your friends is depressed, one is having a nervous breakdown or terminal writer’s block or suddenly can’t get it up to have stage fright; one has a broken limb or appendicitis, or crippling tinnitus. Some weeks these crises align and your phone rings off the hook at 4 AM, those of you who are pathetic enough to still have one.

So I have a new diagnosis for virtually everything, including cancer and anxiety: Lethal Procrastination. Another expression for Life-as-we-know-it. Just having a diagnosis, for the hypochondriacs and drama queens among my callers--- is a little relief.

My Super has a Hummer. I am dumping coins onto my bureau, looking for the larger ones so I can make my monthly maintenance payment without a penalty, and my super who can barely speak any kind of language commonly understood in New York City has a free apartment on a posh street, a pretty great looking wife, an iPhone and a Hummer.

Nevermind that the main itinerary of this car is from side to side of our street to avoid city parking penalties, and maybe an occasional run to Home Depot. He no longer ‘does’ garbage or plumbing or cleans or much of anything but move the Hummer around and make calls on his coop-sponsored iPhone to union plumbers and maintenance men whose bills have caused my monthly maintenance to exceed my monthly income. Oh, he also opens envelopes at Christmas.

Speaking of trash... he has an aversion to this. But for me, Tuesday and Thursday nights on the sanitary Upper East Side are like archaeological documentaries. I, like my mentor Andy, am secretly fascinated by the ironic dichotomy of what some people need and others discard. By the way people eat sandwiches-- -what they leave, what they cut off, what they take home for their dogs, what they spill out, what they pick up. Their wives and girlfriends. The oreo cream-lickers, the potato-skin peelers, the bone suckers, the slurpers, plate-cleaners, cigarette stubbers. The confusion. The fact that my neighbors spent 6 million on re-finishing their perfect apartment and then hired an art consultant who spent another 6 million buying a celebrity artist’s ‘ready-made’ which is essentially something the guy found in the trash and glued onto something else he found. Points for the artist. Zero points for the people on the 2nd floor who paid $150,000 for some uninspired Grafitti from a Phillips’ auction when they could for $50 have hired our own doorman who has style and spends his nights tagging city landmarks and is quite famous in his ‘hood.

As often happens in middle age, I’ve lost my fashion footing. Besides being able to distinguish leather from vinyl, I can scarcely tell Forever 21 from Balenciaga. Well. Okay... not Balenciaga. But is it the case that some high-fashion does take inspiration from strippers and prostitutes? Plastic surgeons do. Jeff Koons and Richard Prince do. Editorial make-up and hair do, occasionally. Underwear. So if trash is on the mannequins, does it not follow that the real deal is in the trash? Old wood, art deco stoves, hand-made glass door handles. Books. Vinyl. Wagner boxsets. These things are on the sidewalk in the new regulation clear-plastic bags. Everyone loves a bargain; especially we New Yorkers, where on any given block you might see 10-30 'sale' signs, from groceries to services to clothing. But on Tuesday and Thursday nights curbside, your plastic and money are no good. These deals are unsullied by commerce, lucre, mark-ups and markdowns. They all bear the celestial pricetag. Free.

Of course the homeless and the professional bottle-collectors are well-aware of my neighbors’ failure to distinguish value, and they are hard at work on Tuesday and Thursday nights. There are even trucks to collect the furniture for resale and refinishing ---the stuff may even end up tarted up or further distressed at Urban Archaeology or one of those cavernous crammed trendy shops on Houston Street where a young couple or a design-star contestant will re-purchase some ‘vintage’ and spend a great sum to have it white-glove-delivered to some Manhattan loft.

Remember in Warhol’s movie, the shoes Holly Woodlawn got from the garbage? The ones that slickly dressed yuppie-guy tried to procure from her? In my senility I get them confused with the ones Beyonce was wearing on her last red-carpet appearance.

The Bi- and Tri-Cycle of Life. Stuff. Junk. New garbage. Crumpled cash. Trash. Vintage. Trash. Crash. I miss Andy. I could have gifted him my newly-chiseled Jenny-Holzeresque future-vintage recycled grave marker. He might not have perished so prematurely of Lethal Procrastination. Perhaps the fermented will indeed inherit the earth.

So and sew...

I’ve been reading Harold Brodkey. Okay. Don’t beat me up. I know he's self-indulgent, beyond baroque, masturbatory, etc. His characters are hyper-verbose and unapologetic about contradicting themselves. They are good and bad; guilty and not guilty. But at least he was intelligent. And every once in a while he says something brilliant and is even willing to admit he stole it from someone else. Like this one: “I think style is usually just the way someone gets past the pain of amateurishness.” I loved that remark. Style is the earmark of New York Culture. Artist John Currin and his wife were recently featured in the New York Times Style section. Not a painting to be seen...just their trendy staged apartment and their photo-shoot-ready attire. Two nerds transformed by ‘stylists’ into ‘icons’. Many more people will know their clothes than their artwork which is more or less worthy (another subject).

So stylists are the new spin artists, the new public relations power-mongers, the machinery which drives the Culture of Amateurishness we have become. Which makes sense--- because we have time for tweets but not editorials, texts but not letters; lunches are short, food is microwaved, internet speed is breakneck...even agricultural crops are souped up because people don’t have time to wait for seeds to germinate naturally. We are full-grown children...emotional dwarfs zipping around from relationship to relationship. We don’t have time to become ‘professional’ in the traditional sense. We are a half-baked society with empty wallets and full closets to testify to our enormous style.

So yesterday I went to this exhibition at the Park Avenue Armory of quilts--- not just any quilts, -- exclusively red and white quilts which was a sort of tradition because red-dyed cotton tended to outlast other colors and most of these were centuries old. The incredible thing is, at first this graphic carnival--- like looking at sheets of stamps or a roomful of flags. But as you began to navigate the space, and to focus in on the individual quilts, you realize that each one is the product of thousands of hours of patient, tedious work-- piecing toward a whole, stitching meticulously during spare minutes in an era when spare minutes were rare. Not to mention the last thing these seamstress/artists would have imagined is their intimate work publicly displayed in a palatial-sized urban hall being i-photo’d by thousands.

Very few quilts are signed, except the ones which bear embroidered names of church-members or family trees. They are surviving soft testimony of some kind of self-less diligence and pride of craftsmanship, mixed with an undeniable protestant work-ethic thing, and also some kind of love. They all radiate this human, imperfect, elegant hominess we seem to be missing. The feeling that millions of old fashioned minutes are sewn with the cares and worries and dreams and sorrows into these now-precious things we with all our stylish crap forgot about. Nothing we buy at Tiffany will ever compare. Personal ego-less masterpieces which altogether defined a certain ‘culture’ which to this audience was more a charming relic than nostalgia. For me it was like a giant Valentine. Straight to the writerless heart.

So outside into the Park Avenue March cold and the in-your-face super-sized sculpted colored flowers and insects which now grace our mall like cartoon monsters or Koons cousins. Grotesque monuments to our culture of juvenility. What happened to carving from a block of marble? Now we get these mould-made Nara giant smooth dolls without even the ‘character’ of trolls. Just huge unedible candy people. I thought the death of culture began when the M&M store opened in Times Square. What is wrong with people? Does the Emperor need to be stark naked?

The quilts... not facebook. The humanity-- the confiding, confessional thing...after all, people slept under these, sweated out illnesses, made love, conceived children.

So, tonight I'm back from another rock and roll extravaganza-marathon gig. I returned to a seething voicemail-lashing from my unequivocably brilliant writer/editor neighbor for reading Harold Brodkey. It was heartwarming. Not like the quilts, but otherwise. And at least I admitted it (Brodkey-esque?).

As a self-confessed amateur professional, I say signing autographs is overrated. All of us who’ve slept with celebrities know that. And getting compliments is like the first drink for an alcoholic. Accept them only if you’re willing to antidote it with a dose of self-pity. Because you need it. But to be berated by someone of truly superior intelligence is like a blessing. Maybe a Jewish blessing but a blessing nevertheless. You are worth it.

Amen.

I'm Bad, I'm Bad...I Know It...

Have you ever been so hungry you open a jar of mayonnaise and do a spoonful? Not like the slightly paranoid too-stoned-to-go-downstairs 4 AM hungry, but the gnawing 2009 version I am experiencing trying to stretch my dwindling New York dollars to cover inflated pricing. I mean, first there was the wheat shortage…or the corn oil pseudo fuel thing. Whatever. My Super-A Cornflakes are priced like last year’s Kelloggs. Then there is the petroleum product thing which makes jars and containers expensive despite the fact that oil futures dropped like 70%. Then there was the $5 gallon of milk, the $2 a dozen eggs, the toilet paper hike. You name it. They give us a reason, then we just buy it because we’re too worn out to fuss about yet another thing when our neighbors have cancer and our kids are committing suicide or being arrested. The only thing reasonable is peanut butter which has been marked down because it can like kill you, and trust me, I’d be spooning it in if my son wasn’t technically allergic. Am I going to feel guilty one day for all the cheap tasteless pasta and generic cereal? Because I was too broke to afford the butter and flour for apple pies except on Thanksgiving when we’re too full for dessert anyway? Maybe, maybe not.

And the damn metrocard increase which totally wrecks my $4-a-day thing. If there was any reasonable way for me to protest the bottomless money pit of the Second Avenue subway, I would. I’m just not up for biking. I’m too rock and roll. Besides, I just did my 9th cd photo shoot in the good old metro at 3 AM. Where else can you find fresh graffiti, vintage tiles, cavernous empty space and cooperative rats without hiring a set designer and signing off with the ASPCA?

On the bright side, I don’t have to feel guilty about not contributing for the Michael Jackson memorial because it won’t be in my town, no matter what the doorman down the block swears. And not to detract from the legend of MJ, but the whole media fest is not really about celebrating the guy, but digging just enough into the freakshow to pull out some gigantic mutant plum. Didn’t the guy already tip you off with the Thriller video? Yes, there is a dark side. You, too, will be dead and maybe dissected and autopsied and revealed as the fake or secret pervert you might be. It certainly distracts us from the Ponzi scheme which is America and if they spent 1/100th of the time investigating the CDAs and predatory lending scams, we might have a story worthy of 24/7 network coverage. The alternative tonight was an Ovation documentary on Jeff Koons where I swear this guy was saying’if art were religion, Jeff would be its pastor’. How about ‘if art was human, I’d invest in an enema-bag to flush the Koons down the toilet with speed and efficiency.’

I took Latin when I was a kid, and the word for ‘speed’ seemed dangerously close to the root for ‘celebrity’. Back then, famous people stuck around a little longer. I mean, there was Mickey Mouse and Mickey Mantle and the Kennedys, Marilyn Monroe… the Beatles… They showed A Hard Days Night tonight and it all feels so remote and non-nostalgic to me tonight I couldn’t even find George cute. In fact the Beatles seemed a bit watered-down and slow, and just so ‘pop’. I wonder if Paul McCartney misses the good old days. Maybe not… because let’s face it.. he’s no longer Paul McCartney. He’s some old guy that got swindled by a fake slut with a wooden leg. The thing is, Michael Jackson wasn’t Michael Jackson any more… no amount of surgeries and masks can change that. Personally I didn’t miss Elvis when he died. I never liked the guy, but certainly couldn’t stomach the ‘In the Ghetto’ Liberace version. That’s the thing about celebrity. It comes and it doesn’t always leave when it gets late. It stays the night even when you wake up all puffy and hung over.

This afternoon I met this old photographer from New Orleans who’d moved up here because, let’s face it, no matter how much they rebuild and advertise, the place is wrecked. The soul blew away with the goddamn hurricane. No matter what they do, It’s the fat Elvis New Orleans now. So this guy is a little bent over, wizened--a little dapper and washed out… but smart, with a good eye. He knew Herman Leonard, copped for Dr. John in the old days. He seemed like a good guy. His hat was battered but cool. We talked about jazz, Mingus, Miles…exchanged numbers.

Just now I took a walk down to Duane Reade where I hoped to cash in the $5 reward I finally got after $100 worth of inflated purchases because in my overpriced hood, nothing else is open at 4 AM. And I swear I saw the guy digging around in the trash. I tried to stay close to the buildings and walked real quiet…but there aren’t too many ex-punks on the streets here, and I’m worried he saw me. After all, there are times in life when you just don’t want to be an audience.

Backlit

Having just returned from a crosstown bus trip during which I was the trapped audience of one end of a blaring cellphone conversationalist blogging aurally about her poor patients at Mt. Sinai and then via call waiting about her roommate’s boyfriend’s appalling personal hygiene, I was not exactly receptive to yet another email inviting me to become a Facebook friend.

Besides one’s virginity which doesn’t seem to have the ‘currency’ it once did, and will inevitably be the subject of an all-too-imminent reality show contest, perhaps the only thing once can give away and never get back is one’s privacy. The concept of privacy, in this tiny cyberworld, is virtually non-existent. What one chooses to withhold seems rather a game or dare for the paparazzi…and rather arbitrary when one posts nude photos indiscriminately but chooses not to discuss the location of the wedding. Besides, by the time the event actually takes place, there is a healthy chance that someone has already intruded on the marriage.

What is more debilitating and exhausting is the totally compulsive dissemination of information that is not only scarcely worthy of casual small talk, but begins to encroach upon obscenity as it occupies a larger and larger platform. We all remember how the man Gulliver, when he took on the proportions of a giant, was observed to have these large pores and bad smells. Ditto for the gargantualization of cyber trivia and froth.

Sifting through the trash has become a task which bogs modern culture to the point where it has become the very substance of not just friendship but culture itself. Television… scripted or unscripted, for the most part, has deteriorated to the calibre of an overheard cellphone conversation. Gossip is no longer a page six indulgence, but an industry. Perhaps a religion. Our gods and heroes are not Herculean but Warholean.

While we're on the subject of art, witness Jeff Koons and his toxic band of misled thieves. At least Mr. Woolworth and Mr. Penney had the restraint to charge coins for such goods. Perhaps the sheer size and the slick deluded genius of Koons' marketing team convince him he is entitled to add many zeroes. I guess he is unable, like Gulliver among the Lilliputians, to smell the stench of his own output. Does anyone note the irony of unprecedented recent perfume and scent branding? They rival fashion sales.

Which brings me to the spring art auctions. In my home, it has been a Mother’s Day tradition that I get the afternoon ‘off’ to wander unencumbered by strollers and whining adolescents through the wares of the auction houses. Something I looked forward to, indulged in. This year even the champagne/strawberry fest at Philips couldn’t entice me to taint my Sunday with the pretentious pedantics of the auction house staff and the blathering art consultants leading still-solvent hedge fund boys through the racks like Syms salesmen flogging cheap suits to make their pathetic quota.

This year there was something almost desperate about the shows. The goods were, for the most part, lacking in quality, although mercifully reduced in quantity. Still, let’s face it... when a rare bronze sculpture appears in simultaneous sales in the same city, same season, days apart… well, one begins to wonder about the whole damn game, and the fact that the archived body of work of so many artists does not come close to the numbers of claimed owners. My own teenager has questioned the Basquiats… and the Warhols… well, Andy himself signed many he swore he never painted. The signature and the work… not always one and the same. But once an artist has passed, works surface like memoirs and mementoes from dead rockstars’ ex-lovers.

Does it make a difference? Did anyone else notice how garishly ‘backlit’ the star lots at Sotheby's were? Like the diamonds in their jewelry department which do not quite have the same lustre at home, they seem to have employed the same bluish-halogen over-lighting which made each image coincidentally look just the way it does on one’s computer screen, which is undoubtedly the way most of the buyers know these images. So they are not disappointed by the reality of canvas and paint when they see them ‘in the flesh’ as it were. And why should they not employ ‘staging’ techniques…we use them to market expensive real estate, our own selves, these days…why not works of art?

So prices have begin to deflate. Unfortunately like a slow leak in a Koons balloon, there will be a slowish letting of hot air. The ‘stagers’ will see to this. Hopefully the detritus of this market will find a safe place in the dump among evaporating stock certificates and falsified bank statements and will not cause the death of any innocent turtles.

Play Offs

I passed this gymnasium today… a court where my son used to play his league games. It was the first summerlike day and basketball had joyously moved outdoors. There were 4 balls scattered on the wooden floor in a way which so completely defined the past tense… and I couldn’t help thinking, with a stab of something like nostalgia or loss… no work of art, no sculptural accident or surrealist act could possibly have conveyed the still and perfect randomness of those balls as they lay.

My neighbor called today and was annoyed at me for suggesting he watch some Indie Swedish film which he found totally worthless. Okay… maybe I was under the spell of the strange language, the dark, cold photography, the sparse, subdued, smoky breaths of dialogue. Had I underestimated his intelligence? Well, I countered, referring to some poet he had recently praised…if you define a poet as someone who is attempting to write poetry…
And there ensued a duel of minds batting back and forth the misshapen ball of mediocrity. Actually, the perfectly formed ball of mediocrity because this is where technology has placed us… in a position of perfect reproduction, straight edges, the pre-drawn, pre-loaded, synthesized, airbrushed landscape of culture. And who is really listening…or watching?

Paper and pen which were treasured by some ancient poets…is near-obsolete. Corrections are automatic, publishing is instantaneous… everyone has a network, a preset audience, an email list. Does it matter if they are too busy putting out to actually listen or read or watch? Everything has been said, written. This, as well. Every teenager has a guitar as well as a car in the garage. Not. But the new poetry might be architecture. At least it requires ‘presence’ to be experienced. For the time being, that is.

I read some work by a South African poet today who is quite acknowledged… and full of metaphor… so full, in fact, that it passed me by. I began to spar with the poet, mentally. Is a shadow really the ‘widow of the light’? Is that not the dark, what is left behind? And he spent so much time setting the scene…describing the landscape, as though none of us readers have eyes or soul or heart or imagination… I grew angry.

Maybe I, too, am a victim of the impatience instant messaging has cultivated. Maybe I am overstimulated and sensorily anesthetized. Maybe we all need to be shot, and then to feel the pain of the wound, in order to explore our own feelings. We are ever-so tolerant of the gruesome violence and gratuitous cruelty we see on even prime-time TV. The odd thing to me is the same audience seems to flock in equal numbers to both the horrific cinematic frightfests and the pathetically scripted Jennifer Anniston/ Reese Witherspoon froth which monopolize chain theatres. At least I stay home and watch Sundance.

I do notice, though, that in the award department, tragedy beats out comedy. How many of our lives are truly marked by 9/11 moments, as opposed to happiness. Besides, that is, the births of our children, which, according to the wise poets, is the sad instant their world becomes intermingled with death.

How is it, I wonder, coming home, still in the spell of the empty basketball court, that these people who live among me can worry about the status of their prams and strollers and fail to feel something for all the starving children? That we must feel guilty if we do not buy the iphone for our kids when animals are being tortured, millions are suffering? And on TV they are asking for money for the polar bears. I can scarcely manage the quarters for my corner panhandler who I notice today is missing another tooth. Does lack of money make me more qualified to empathize, to hate the investment bankers, to ‘dis’ the late Picasso show at Gagosian, to weep over the orphaned elephants and my own failed attempts to communicate all of it?

I do know that I hate more than ever the trapped basketball in the tank of Jeff Koons which always had some perverse sexual and monetary connotation. In a Batmanesque parable of the Gotham City art world, Mr. Koons is some kind of pathetic Joker. The anti-Houdini, the lizardous creature in a tank or a bank vault who conspires to deflate the souls of all those who might give to the polar bears if only they had something to give.

I am thinking also there must be some pop philosopher-- some pensive or laid-off sportscaster somewhere, especially during this season of playoffs, who will never read Writerless, but who has observed ‘I am the basketball on the abandoned court’. Maybe he is even a Swede.

Please don't feed the balloon animals!

Dear Google,

Okay, I admit. I’ve always hated your name. Like Goofy and Giggly and Oogly all at once. When you need some information you have to find yourself mentally summoning a cartoon character. And that logo—more suited for a pitstop in Candyland than a search engine. I don’t like screensavers and emoticons. Okay, I admit some cyber-addicts need to be reminded about Mother’s Day or Easter so they can send an i-card. But the new ‘accessories’ on the page? It looks like a frigging iphone. What the hell is iGoogle anyway?

Please. Don’t answer. That was a rhetorical question, not a search.

But today…I lost an invitation…needed an address….and what comes up? Tulips? Is it some new calendar-calculation of Spring? Dutch Easter? I look closer…my cursor lingers for a second. Oh my God. It’s that Jeff Koons--- the Cat-in-the-Hat bathtub ring we can’t seem to shake especially during Artweek. Like the stench of plastic sewage. And underneath? The words ‘what happens when great art mixes with your homepage’? Aaaaarrrrrggghhh. A cry of anti-aesthetic pain. When great art mixes with my homepage I open to the Metropolitan Museum. But oh Jesus, oh Andy, oh God of truth and art…here, too, the venerated institution of class and culture.. has been crowned with the hideous clown-laureate of Koons. And on their webpage…they actually describe the stuff as ‘meticulously crafted’. By whom? By a factory? Like a wedding cake? They are not even edible, which would at least make some statement about the obscenely distorted worldwide food supply. Which would explain the revolting bloated shapes. Oh my museum…has the world come to this…the ultimate sellout.

Wall Street is policed by their own. The art world, unfortunately, has sunk as well into a pit of Koons. Even Damian Hirst’s boring little pill paintings did not inspire the kind of disgust that everything Koons produces. Where is the Pope when we need him? Where is the gigantic scooper which will pick up this crap and toss it from the roof into the recycling bin where perhaps we could find some future use for this waste of material and machinery. But ‘meticulously crafted’? The institution which displays Rembrandt and Seurat and exquisitely decorated Greek vases? This monstrosity of hideous blimp? Maybe Google is under pressure to sell out, to please their shareholders, to subsidize, advertise and brainwash every user/sucker who relies on their almost suspiciously overefficient monopolizing system. But the Metropolitan? What Board Member/Trustee/Hedge Fund CEO owns multi-stock in Koons? Because now these bastards are taking control of my personal screen.

The Metropolitan Museum roof was one of my sacred places. A view which gives you perspective, where you can take in the city behind a buffer of green—where the sunsets become memory, where on the way to and from you must pass through halls of historic and beautiful objects which predate New York City by centuries, millennia. Where works of art are not necessary because the architecture and cornices are breathtaking against the treeline and the sky. But now we have New York Poop-disneyworld. Not anything classy or trashy as the old Pop Shop. Not even the Oldenburgs and Lichtensteins which tried our concept of ‘taste’. But flat-out monuments to the hot-air filled world of Hedge Fund-fueled Jeff Koons art.

Does anyone know that Jeff Koons hasn’t paid his child-support like ever? That his wife ran off to Rome because the possibility of her son being raised by the likes of JK was worth exile. I salute you, wherever you are, you and young Ludwig. Stay away from this city so desperate to attract tourists they’ll be covering Museum walls with M&Ms. That’s right, they might even call it a Damian Hirst. He seems to have run out of ideas, too. And remember those pathetic balloon-sculpting clowns you could hire for $20 to entertain at your el-cheapo McDonald’s party? They should sue for copyright infringement. Back to the toilet, Jeff Koons. Underneath your fake tan and lasered old face there is a balloon man just waiting to explode. And that’s the good part. As for Google? Try Koons and S—T and press search. Or better yet, just flush.

The Joker

I passed Bloomingdale’s the other night…the Third Avenue windows are featuring Andy Warhol, in some tribute or nostalgic fashionista sort of cheap reference. My favorite Andyquote on a placard in one display was ‘Art is what you can get away with”. Of course as anyone who actually studied art or tried to make some kind of cultural sense out of what now wears the art label, this is so ironically far from Truth, as Warhol well knew, and yet so aphoristically appropriate. Warhol, the cultural oracle, strikes again.

Of course Fashion has always been about what one can get away with. The Emperor’s New Clothes, etc. New York City is the capital centre. I live in a building of all-Emperors, now… wearing their bank-accounts, mentally naked as a jaybird. Of course, they point at me. I am badly dressed, vote like an old liberal, don’t tip the staff because they make more than I do, are maybe socio-economically in a higher strata, it seems pretentious and absurd-- besides, the staff is better clothed than I am. In fact I single-handedly lower the average income of my fellow tenants by double percentage points.

But I do know something about art. If I had an art portfolio I’d run it like a value manager. Value managers aren’t quite keeping up with the astounding geometric increases in money-stash of the hedge-fund rockstars. But also they know something about history.
The high-beta purchases of this market are certainly risky and for the short-term, but as for me, no dividend could be high enough to convince me to put a Jeff Koons anywhere near any collection I’d describe with a capital ‘A’.

Recently a reviewer observed that the Guggenheim museum, especially decked as currently with the output of Richard Prince, rather resembles a toilet. At the auction previews this week, it was not just a question of the Emperor’s New Clothes, but an entire Bryant-Park-worthy fashion show for such merchandise. And ‘merchandise’ is the word for the relentless, aggressive marketing of the auction houses whose stock and executive bonuses will rise or fall according to the success of their campaign. They have done well, these art puppet-masters who have enticed the nouveau-riche Americans to participate in yet another version of competitive greed—this one perhaps the most risky, the least understood… because they are not owning shares of a corporation or building a personal mansion, but will purchase essentially a few dollars’ worth of linen and paint, or a concept…scrap metal… reproductions, in Warhol’s case…autographed reproductions, with often-faked or posthumously sanctioned ‘autographs’….photographs, in other cases—not even prints, as in the old days, but C-prints—computer-generated digital images for which they pay six, seven and eight figures.

And is there a Dow Jones, a Nasdaq for these things? There is not. There are no experts, no service except the auction houses whose participation in the whole hocus-pocus is financially motivated-- the very auction houses, in fact, whose directors have been subpoenaed and convicted for illegal practices. The convictions were minimal when compared to the larger picture of obscene price-fixing and absence of control in this unbridled industry. Amateurs are walking the streets hawking images of twenty million dollar paintings which investors are falling over themselves to snatch up before the next wave of price-increases. Authentification committees have been created to preside over the procedures, many of whose Board members stand to profit from the very market they presume to protect.

And the auctions—the evening sales—these are the benchmarks—the source of the waves, the parade and interactive performance of the Emperors-- the blackjack tables reserved for million-dollar bets only.

I’d like to ask one of the ‘winners’—the one who forks over his millions and takes home a cartoon porcelain pig, or a gigantic purple reflective heart—the largest bauble they will ever see, something which could cost thousands of rupees if it were ordered at an Indian bazaar…and hangs it, with the distorted image of his home, his family, his own self---reflected in its cheap sheen…what kind of trophy is this? What kind of joke has been played?

You have to give Richard Prince credit for at least having the double-edged integrity to make his paintings as earnest as possible…hey, this is a joke that you are buying…a joke. A cheap comic-book nurse reproduction on a canvas, a tasteless one-liner that will hang in the new version of the drawing room. So who has ‘won’ here?

As my old mother used to say when she passed tastelessly-dressed or badly-mannered people on the street: “Do people no longer have mirrors?”