A lilting number for viola and piano, on the outskirts of ambience, with some bitter dissonance to linger on the palate.  “Parget” is ornamental plasterwork; this is the sonic equivalent.

These earrings were made at the request of Dr. Mamie Caton.  I photocopied my original color drawings onto acetate, then cut them out.  A pinhole was made in the tab, and the appropriate earring technology inserted there.

In 2002, the nice people at the Fortean Times invited me to give a couple of talks at their annual UnConvention.  I gave one on John Keel and the Mothman, tying in with the film that was just released; and the other on the scientific method.  At Keel’s request, I introduced a talking frog puppet into the first one.

In 2003, The Signature Theatre presented a series of three productions by Bill Irwin; I wrote the music for two of them.  The Regard Evening was the second.  The first half was a shortened version of our old show, The Regard of Flight; the second a sequel, showing the characters twenty years later.  We were performing The Harlequin Studies seven times a week, and spending our days reconstructing the old show, and trying to come up with the sequel.  It wasn’t easy.  Still, the show was received well, and we were extended, providing welcome employment.

In 2003, the Signature Theatre in NYC presented a series of three productions by Bill Irwin; I wrote the music for two of them. The Harlequin Studies was the first. I called on two fine musicians to join me: David Gold on violin and viola, and Sean McMorris on drums. The score included short cues and flourishes for the first part, a series of brief vignettes; a more extended score for the second part, a longer play featuring Bill as Harlequin; and a noisy overture in between.

I drew this originally as a slide show, then made a comics version.  I kept the graphic balloons translated by subtitles, however, since that was so much a part of it.  Our cowboy does see some cows, but they head out, so he stops for lunch.  His horse is stolen, so he serenades his sweetheart on the euphonium.  They discuss marriage, and their ensuing death and reincarnation as tapeworms, as euphoniums descend slowly from that big sky.

Performa 11 organized a “Visual Art Performance Biennial” in November 2011.  It included a a film series devoted to comedy, curated by Lana Wilson, and screened at Anthology Film Archives, in NYC.  The program for November 14 included a number of videos and performances I did with Michael Smith, and one of my ventriloquism routines from a variety show Mike once hosted on Cinemax.

Before he wrote the musical Rent, Jonathan Larson collaborated with another songwriter, Bob Golden, on Away We Go!, a children’s video about transportation.  I had met Jonathan through New York Theater Workshop, and he called on me to operate the newt puppet that you see here.  I also had a cameo as a bus passenger.  Jonathan himself appeared in another cameo, as an elevator passenger.  We filmed this strictly on the cheap, at one point having a rather unpleasant altercation with a cop who disapproved of us filming at the airport without a permit.  The video was released two weeks before Jonathan died, in 1996.

A little cartoon of mine appeared over the letters column, in the 13th issue of Weirdo — founded by Robert Crumb, and edited at that time by Peter Bagge.  (I didn’t letter the logo; I just left it in for context.)

A trip to Paris in 1993.