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Listen Up @ the Empire House, New York, Feb 2015
Across the seas to what many consider the hub of creative expression, Listen Up @ the Empire House ran in Brooklyn, New York as an outstanding success.
Thanks to the members of the Empire House and friends, we enjoyed an intimate evening of musical and poetic passion.
With 35 attendees within the confines of our humble home, a 3 .5 hour session filled us with an uncontrollable buzz.
To continue this underground platform for Brooklynites and International folks alike, we hope to attract more support to bring out the talent in many of those who refrain and shy away.
Listen Up @ the Empire House is an edition of the familiar “Stage Time & Wine” event format, creating a listening community.
Dan’s recorded version of the song he played: http://danflorio.bandcamp.com/track/fleeting-embers
-Dan (shredder/dflo)
www.danflorio.com
Paul Villapiano, 21 February 2015
Shorty
There was no motion from it. So I breathed on it, the antennas twitched. Twice more I breathed on it and then tried to flip it over with the same slipper. However, the said slipper was already back on my foot. I flinched at the feeling of tiny legs and antennas scrambling across my right toes and sent Shorty smack back against the wall.
It landed upside down again and flailed its legs in fear.
There was an old wine bottle covering the floor drain next to it, which I picked up and brought over. It slipped off the bottle the first time but clung to the label on its second try.
After I replaced the bottle over the drain, Shorty scrambled for the kitchen door and frantically searched for a crack to squeeze into but was far too big to fit between the millimeter gaps between the door jam and faux wood door.
And then it stopped and looked up at me. I knelt down and saw that one of the antenna was half as long as it used to be a couple of minutes ago.
After a good eye to stare, I told it, “Go. I know you can either smell or taste what’s on the other side, but you can’t run off to the dining room or living room. Go. I don’t need any trouble. Go.” I then stood to shoo it away with a few waves of my hand until it hid in the shadows.
I grabbed my last beer from the fridge, closed up the kitchen door, sat down with a book and read while I was frustrated with myself for getting more worked up than I had wanted to be before dozing off.
A few days later, it appeared in my kitchen one last time. It was on top of the cans in the recycling bucket: standing still and searching about before it darted down into the half crushed cans. I smiled at myself while thinking, “Shorty likes beer more than I do.”
Reflections, December 2014
Red Room’s 5th year anniversary
The anniversary of our 5th year of red room kicked off with Stage Time and Juice for the kids. We welcomed parents and young ones alike to perform skits, stories, and puppet shows. Some had rehearsed to the point of perfection, while others visibly overcame their stage fright in order to share stories with us. Further into the afternoon, the stage was filled with music while guests enjoyed refreshments provided by Red Room’s sponsors for food and drink.
Deeper into the evening, with the stage cleared of bands and music, we welcomed people of all ages to share whatever they pleased, in the spirit of Red Room’s Stage Time and Wine. There were singers, dancers, a juggler, and even our very own Taipei Improv troupe!
With time to mingle, share, and listen, a socially and creatively fulfilling Saturday was had by all. We hope you can join us for Stage Time and Wine on the 3rd Saturday of each month. We look forward to seeing you there!
Trevor Tortomasi
Red Room Host
Happy Birthday!
“Happy birthday” to the always wonderful, unrelentingly passionate Red Room. Throughout the years, RR has provided us with a platform for self expression and for sharing in the creative arts – be it performance, visual, musical, spoken, etc. But most importantly, it has provided a safe space full of acceptance, warmth, and encouragement for people that wish to share, grow, and connect.
For some of us, it really is like coming home when we attend the monthly Stage Time & Wine/Juice. We get to see our old friends as well as make new ones, and find inspiration through shared stories and experiences. This day was a remembrance of the triumphant five years we’ve shared together, and a celebration of the wonderful times the future of RR is sure to hold.
Here’s to you, Red Room. Happy, happy birthday.
Julia Kao
Red Room Photographer
Photos from the 5th year anniversary can be viewed on Flickr
Julia Kao, October 18 2014
One of the best ST&Ws I’ve attended in the past 2 years. Everything came together beautifully, and it really was the people that made it so wonderful. Thanks so much to our old friends (great to see your faces) and newly made friends; we really created something special that night. The performances were so fun and exciting, and the audience-performer interaction was on FIRE. Way too many people stayed for HOURS after ST&W ended, because everyone was so excited on their new friends and nobody wanted to leave. That, to me, is a testament to how beautiful what we create at Red Room is.
Photos from the October Red Room can be viewed here
Julia Kao
Red Room photographer at large
QBband簡介, September 2014
QBband簡介:
好歌聲劇場表演女伶—香菱
地下日系搖滾吉他手—鬼貓
古典音樂系鋼琴兼打擊樂手—-彎彎
關心世界 認真生活
大膽實驗的精神除了在台上,更要延伸到每一位觀眾!
qb 象徵鏡像的音符
從不同角度切入 訴說嶄新心氣象
創造美好無限可能
DEMO:
“My only” demo
詞曲:鬼貓 主唱:香菱
打擊:彎彎 吉他手:鬼貓
”看坐在那裡做什麼?“demo
詞:香菱 卡洛圓 曲:香菱
主唱:香菱 KB:CJ
QB街聲:http://tw.streetvoice.com/qbband/
QByoutube: https://www.youtube.com/channel/UCVfd8TX-5wB-jVY9VoK6xyQ
QB專頁:
https://www.facebook.com/qbband0123
主唱香菱:
https://www.facebook.com/arlenelovesing
by Arlene, QBband
Playing for Change @ the Red Room
Joining the global movement for Playing for Change, this September the Red Room Played for Change, encouraging members and participants of both the Stage Time & Juice and Stage Time & Wine events to celebrate the love for music. The day was filled with dynamic mic holders, crackling guitarists and booming vocalists.
Stage Time & Wine was revisited with Andrew Quirks who played a few rock songs to juice the crowd, the soulful Arman Torus serenaded the room into an encore, sharing 3 songs. Daniel Black returned with more ink-heavy verses in the name of summer love. A new Red Room’er Coco sang with two groups of friends sharing pop chart favourites.
To shed light on an upcoming Mexican exhibition here in Taipei, Sergio has shared the details. (view below).
Many more new faces and hearty participants took the stage to express their love for music. We thank PFC for their encouragement, and for allowing us to participate from our corner of the world.
Daniel Black d.black@tothetopproductions.com
Sergio Chelala
Falk falk@foell@web.de
Kyle
Josie josychag1106@gmail.com
Elvinna
Coco sherry4012@gmail.com
Arman Torres
Red Room Plays for Change, August 2014
See photos of Stage Time and Juice PFC Day 2014
See photos of Stage Time and Wine PFC Day 2014
Red Room Plays for Change: Playing for Change Day 2014
The Red Room is calling on ALL MUSICIANS to make their own musical tribute at the Red Room on Saturday, September 20th. The Red Room is proud to play host to the global music movement, Playing for Change (www.playingforchange.com)
As part of our monthly Stage Time & Wine event celebrating the spoken word and performance arts through poem, song, rhyme, dance, comedy and more, we encourage the musically inclined to step up!
Playing for Change’s mission is to raise money around the world so more and more music schools can be built in impoverished areas! Through music, children rise out of poverty.
Musicians from all around the world, gather and perform. The money they raise is sent to the Playing for Change Foundation (www.playingforchange.org)
On Saturday, September 20th, we invite all musicians to sign up, perform and be part of the change. The Red Room will film the performers and link the videos onto the Playing for Change site as well as on Youtube.
The Red Room will also donate 50% of the door to the Playing for Change Foundation!
___________________________________________________________
A few things to remember:
- Performers only have 5 minutes to share
- The Red Room is a listening environment. We ask you to honour the people on stage by actively listening.
- The Red Room is a green environment. Please bring, borrow, or buy one of our awesome, groovy bamboo mugs as your drinking vessel of choice. Have our fabulous artists paint it for It will remain forever, yours and yours alone (true love).
- We welcome sharing. We’ll make the stew, you bring the wine (or any other fantastically creative creations. We’ll ooh and aaah). Deal?
Come as early as possible so that everyone gets a chance to perform. Yay! We’re uber-excited about seeing you on Saturday where you’ll be PLAYING FOR CHANGE!!!
紅房號召所有的音樂家於9月20日(六)前來演奏。紅房很驕傲地主辦一場全球性的音樂活動—為改變而奏。
此活動與我們的月聚會Stage Time & Wine一同舉辦,目的是慶祝聲音表演以及聆聽的文化。藉由詩歌、歌曲、韻文、舞蹈、喜劇表演等表演形式,我們鼓勵音樂表演者一同響應!
“為改變而奏”的活動目的是為了在世界各地募款,幫助貧窮地區建立更多的音樂學校。有了音樂,孩子的生命軌跡將會有所不同。
全世界的音樂家齊聚一堂,為同一理念演奏。所募得的款項將會全數給予為改變而奏基金會。
9月20日禮拜六當天,我們邀請所有音樂家共襄盛舉,表演並成為改變世界的一部份。紅房將會錄下所有表演並將影片上傳到“為改變而奏”官網以及Youtube.
此外,紅房也會將當日活動入場費的50%捐給為改變而奏基金會!
一些小提醒:
1.表演者的演奏時間固定為五分鐘,請注意時間限制!讓大家都有上台的機會。
2.紅房是一個聆聽的環境。我們請求大家尊重台上的表演者,聆聽是最好的尊重。
3.紅房也是倡導環保的環境。請帶、借或當場買一個竹杯作為您喝飲料的容器,現場也有藝術家會為您彩繪獨一無二、此生唯一的竹杯。
4.我們鼓勵分享。我們將會製作炖菜湯,你們可以帶酒(或是任何飲料、有創意的食物,我們會負責尖叫跟驚呼!)好嗎?
5.請儘早前來,大家才可以及早開始表演,能上台的人也就越多。我們非常期待禮拜六的時候見到你!一起來為改變演奏吧!
Coordinator Red Room, Manav Mehta
Translated by Sylvie Tsai
(c) Copyright 2014 Red Room. Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.
Katrina Brown, May 2014
Reunion
Countless, the years,
to arrive at this cliff,
weathered, like your face;
steadfast against the breakers,
unyielding to the tides.
Once, I was the albatross,
poised for flight,
needing the wide Pacific sky.
You were the toe toe,
rooted in the rocks,
content with the Coastal breeze.
Now, here we stand;
a pair of aged sycamore,
feet planted a safe distant apart,
as memories fall like helicopter seeds,
by the rivers of our youth.
Stone hands in our pockets,
we brace against the wind,
and blink back salty tears,
of impossibilities.
-Katrina A. Brown <kbtaiwan@gmail.com>
*toe toe is NZ’s tallest native grass. It grows up to 3m in height, and is firm and strong.
Max Farrell, December 2013
Dreamland Pieces, Ch. 05
excerpted from the private journal of Carl Parker, written shortly after one of his exits and returns to the institution
Once I lived in a mansion where almost every wall was lined with portraits of revered ancestors. It was a Maltese family, and most of them looked more than a bit like me; so standing in one end of a corridor and looking across was like looking down a weather-beaten picket fence made out of anachronistic resemblance. Here was the same person, a million times over off into infinity.
I wondered if I was anything like them. I, somewhat hopefully, doubted it, because it was stunning to think anyone that close could have gone through what I was going through without leaving some sort of help, some sort of instruction to future generations. At least a note. I can imagine myself finding such a treasure stashed away somewhere in the miscellaneous artifacts of these past lives. I’ve never found such a thing outside of particularly hopeful dreams, assuming one doesn’t count the contents of more recently deceased relatives’ liquor cabinets.
One summer, during evening rain, I received a waxy envelope from a return address in Rouen, France. As was usual for me, I was incapable of getting the envelope open in the usual way and wound up tearing my way in through two sides. Inside were three dried leaves, two partially disintegrated from the pressures of shipping and one perfectly fine (which i stuck between the two sliding glass doors on my cupboard for luck). There was also a letter, on cream-colored paper, written in dark blue acrylic ink with a fountain pen.
It was from a relative who needed someone to look after their chateau and their six chihuahuas of differing age and temperament (Peter, Mary, Matthew, Paul, Simon and Bart) for two weeks while they honeymooned in Africa. After a few frustrated phone calls — there was no one else to do it, there just wasn’t — and no small amount of sulking I went there, over the sea, on a hot-air balloon basket ride that came up peppered with sharks’ teeth every time it dipped low in the water. Every night I followed a carefully-chosen star to the east, and every day I made my best guesses. On occasion, I consulted a chart or two.
A half-day out to sea a lightning storm came in the night, and so my basket bucked and pitched in the all-encompassing bitter sheet of dense precipitation. Rips and tears bit the sky, lighting up the world for the instant before plunging it back into total darkness. I felt strangely safe in it, as though the storm were a close friend who would never harm me no matter how it might terrorize my neighbors.
At times I almost fooled myself into thinking I would tumble from my little basket as it twisted in the air so as to be perpendicular to the ocean, my little net bags of peaches and bottled water almost lost to the abyss before I caught them by their strings with my brittle fingers and pulled them back to safety, clutching them to my chest for the rest of the night. The book I had been reading (Hemingway’s Old Man and the Sea) was saved only by its soaked first-edition pages sticking to the side of my basket.
The night before closing in on land I encountered another traveler. They were in a much newer model than mine, much more high-tech, bigger and capable of going much faster. It moved skyward with the aid of a perfectly snow-white balloon that looked to be made from that high-tech modern fabric that could keep you afloat if you went down in the sea, deflect bullets, make you coffee and look after your kids. They were far away from me, but it seemed like it would be bad luck to pass another at sea without making some attempt at contact, so I sent a flare off into the sky. It was a pathetic, low-budget sort of signal flare, absolutely the bare minimum to attract the attention of some sort of rescue mission. There was no response, the other traveler just kept moving right on by.I first touched shore in Portugal, and then, taking to the sea again, found myself somehow in Wales — twice — before finally reaching France. After that it was the relatively simple matter of asking the right people for directions to find my way to Rouen. Meeting and interacting with my living relatives always reminds one of an autopsy on a drowned cat that had been, in life, well-loved by the local public. I sorted things out as they needed to be sorted out and served my two weeks looking after the estate. After my relative’s return home, they insisted on buying me a first-class ticket home on an airplane. After much curiosity and interest on my part I found the plane ride home to be completely unremarkable — full of slightly stale air and aging tourists.
Ch.21
James started dedicating his late nights to reading Walter’s notes, in spite of the risk that this might attract the attention of the lurkers or something much worse. He was seeing them more often now, freakishly peripheral visions crossing just out of sight or standing in doorways looking down at him, or worse, just gazing endlessly at something that couldn’t be discerned. James quickly learned that the lurkers would be drawn to the book if he left it anywhere out in the open.
They would gather around it and stare, they would walk past more often, they would turn up nearby. But as he read, what had once unfolded began to bloom in him. As he saw the lurkers more often, he began to understand them the way an infant left alone with a mirror will eventually identify themselves within it.
In antiquity, if you really pissed off the wrong person and that wrong person happened to be the supreme power in the area at the time, they might declare a damnatio memoriae upon you. Eyes might be gouged out of statues and paintings, the faces removed entirely, or the works themselves completely destroyed. People would be forbade from ever mentioning your name again. The Egyptians might have mutilated your cartouche, a little oval with a hieroglyphic writing of your name, and in so doing would have destroyed you — if you had your name written down somewhere, you wouldn’t disappear after you died. Your soul had an anchor.
The first wandering souls were Egyptian in origin. The Egyptians, for a long time, kept the souls of the dead hanging around their temples and tombs by feeding them a constant stream of sacrifices and offerings, which came to dominate and eventually skeletonize their economy. When their diet of willingly provided sustenance was ceased, the deprived spirits of the ancient fallen became hungry and filled the night in their search for other forms of energy. First they would sink to swarming lost blood or urine, things with the remnants of life force still scattered inside or around them, and — eventually — they slowly began to prey on the vitality of those who were left defenseless in the dark.
This is a story that starts a year before the big collapse, when all the bridges burned and it rained brackish water for two years. Carl was getting sick. This was the beginning of the cracks that eventually spread into every aspect of him, creating a solid year of memory gaps and migraines.
He moved into a spare room a friend had in the apartment she shared with her girlfriend. One spent most of her free time hoarding her artistic influences because she was terrified someone else might look at or study them and in so doing make her obsolete, and the other dedicated her significant energy to mixing alcohol with pharmaceutical drugs and taking her clothes off for the internet.
He was fond of them regardless, which is in retrospect kind of self-defeating — something must have already turned off the evolutionarily instinctive common sense that keeps most people safe from people like this. Carl’s sickness got worse, progressively, as maintaining his presence in classes became more troubling and everything started to go downhill. He had started to unravel.
As their behavior became more strange and erratic, Carl was consumed by his affliction. The ailing eye of an ailing storm. His roommates bickered, fought and had tantrums over food. If someone misplaced an orange or cut of meat or if someone cleaned some rotten thing from the back of the fridge, loud words would be had. Carl slept without resting.
“Being here really sucks,” said Tabitha. “I can’t check any of my accounts or commissions. I hope my clients all understand that I’m just indisposed for the time being.”
“That it’s unavoidable?” asked Abel.
Carl interjected. “I’m sick of seeing people who want to be artists or, worse, think they already are, scrounging and fighting for scraps of attention wherever they go. Doesn’t that seem unsophisticated to you?”
“No. It’s just a way to make a living doing something most people can’t.”
“If you want to make art, get a job you can stand then dedicate your free time to your practice. And what makes you think you’re so special?”
“There’s nothing wrong with wanting to be a success,” retorted Tabitha.
“Sip urine, drink blood. Prey on the weak. Whatever scraps you can get your hands on.” said Abel.
When Carl despises something, he won’t acknowledge it. A public persona he thinks is despicable? He won’t talk about them. The ultimate punishment to an entity that is completely and perfectly reliant on attention is refusing them any kind of acknowledgement. This isn’t to say he hasn’t made his share of political actions against the would-be powers he resents — actions, not gestures, the difference between going to a major protest and having an argument with your dad. There’s clearly a modicum of strategy and thought to this, like there is to anything else of worth in the world, the punishment of social icons via personally enforced condemnation of their memory.
Inexorably, this began to evolve to include people who did things that were wrong. A particularly nasty ex-girlfriend, for example — he stripped her of her name, severed all ties, ceased to acknowledge her, and went on with life, missing a few pieces of himself and bleeding from the gut but wiser for it, or at least he would be wiser for it after he clawed and climbed his way out of the pit the whole situation left him in. There’s a story about two frogs that fall in a bucket of cream, but most the time we land somewhere strange, cream isn’t in the picture. When someone helps you into a bad place, damn them out of every cell of your body. These people, they do not exist, they might as well never exist.
Allow their memories to remain. The best way to torment someone is to make off with every scrap of useful information they ever provided and outdo them in whatever areas they believe themselves to excel in. This is what Carl does, the revenge recovery program, punishment through excellence.
The paint on the wall in James and Carl’s room had always been badly cracked. Carl was trying to tape up a charcoal drawing of overlapping hands when a piece of paint fell away. A spot on the wall the size of the palm of your hand was revealed, full of sweeping black strokes of paint. With a little work, a message painted across the entirety of the room’s left wall (facing from the door) revealed itself.
It was a message to someone, anyone, from the deep past. An echo check, measuring signal to noise, and a wish that whoever’s finding this note is doing okay. It was signed with the initials ‘F.H.’.
“Who do you think ‘F.H.’ is?”
“Hook.”
max farrell <seenerie@gmail.com> (c) Copyright 2014 Red Room. Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.