Tuesday, 18 October 2016

ART: The Raw, The Beautiful and The Beautiful ROAR.

Improvised performance at OVADA Gallery 1st October 2016
Don't Hide The Madness at The Beat Hotel
at CARU 3rd Birthday Event

There is so much I could say about this performance.  I would need write this piece as a giant chord with words all sounding together, expressed in a single moment.

The chorus goes like this :

Paper, scissors and Remington is the rock.  
Over the edge of beauty stare into the abyss as you drop.  
The sparks fly turn into raw electric shock. 
Don't hide the madness.  

These days, my jaw seems to be permanently on the floor.  I listen open mouthed and wide eyed to events in the news.  I find myself becoming tongue tied and severely ineloquent when I try to explain my reaction, or keep track of what is what.

In music and telling stories in songs, I find a flow that slaloms between reality and imagination.  Through playing with words and images all my hopes, silliness and nightmares become a story... there ...now sing the thing.... job done...it could just be about some wacky characters.

But now... this song I wrote about The Beats speaks to me of current rawness and current madness.     It is not pretty and it doesn't clean up nicely.

Now back to The Beats.  They were experimenters in writing and great experimenters in life.  Their writing was raw and wild.  The Hotel was a flea pit.  It became a hotbed of creativity, a home for Bohemians and none of it was pretty or cleaned up.   The Beats became icons.  The Beat Hotel became a place of fascination.  Is there a kind of worship, a kind of inane holiness, that arises out of it all?  There is a four star hotel at The Beat Hotel address.  Outside is a commemorative plaque.  No doubt it is not a cheap place.   Oh Irony!

 The Beat Generation
The Beat Hotel

Thanks to wonderful       :Aya Roxy Kasai (Contemporary Arts Research Unit)
                                          Sam Kamperis
                                           OVADA Gallery Oxford
                                           Andrew Kay                              

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