This was my first foray into Forteana, reading selections from Charles Fort for the Virginia Matthews Dance Company, back in San Francisco in 1985.  And lo, Janice Ross of the Oakland Tribune approved, even if she got Fort’s name wrong (2/11/85).

The Courtroom never really got past the “work-in-progress” level, and Bill never revived it after its run in 1985.  What an ensemble that was!  It got mixed reviews, but The New Yorker was happy.

I put on An Attractive Production at Dance Theater Workshop in 1985.  It was a busy year, and I was also moving back and forth between NYC and San Francisco.  I’m surprised I got it on its feet at all.  Still, it seems to have gone well.

Young Eddie and I got a nice mention in The New Yorker, for one of those club shows I was doing back in 1989.

A voluptuous little piece, with a rolling left hand.

“H,” in German, is the name for B natural, thus allowing Bach to spell his name as B — A — C — B natural.  I expanded Bach’s musical signature for this canon.

I’ve long been fascinated by the Latin gibberish used to fill in dummy texts. I considered setting it; then concocted this musical equivalent. I assigned a four-pitch diatonic chord to each letter, then transcribed the result.

All of us who write music hear music in dreams.  I don’t know what to make of it.  Is it inspiration, brain garbage, cryptamnesia?  I write it down when I awake.  Here’s one of them.

I trot out some French, in an excerpt from a White Knuckle Sandwich slide show.