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I Was Grumpy
I was grumpy that night. What's new? Election Day had gone OK, but I still felt a little uneasy. I had not found much to applaud in recent American political theater. Companion review to: "I like This Country" VID interview
I was grumpy that night. What's new? Election Day had gone OK, but I still felt a little uneasy. I had not found much to applaud in recent American political theater. I had hope, but also I felt the whole nation's spirit had been beaten down by the wars, the economy, health care, and stretching ends to meet.
The presidential campaign did not alleviate my wariness of the whole political system. There was a curtain drawn across America that cast a shadow of insecurity.
I went to see David Ford's gallery installation I Like This Country on election night. The event was hosted by The Mercy Seat Tattoo Parlor at 16th and Grand. I stood in line for about 20 minutes just like I had that morning to vote.
There were big scary tattooed Hell's Angels looking men that were patrolling the premises and providing security. Some drunk guy tried to butt in line but they didn't see him. I signed a Release Form relinquishing my rights. "Americans will sign anything," quipped someone standing in line. I stopped to pose for my photograph in front of Old Glory. I was let in to the gallery.
Before I could stop them, two curvy young ladies in tight costumes pushed a cup of liquor to my mouth. It was something that stung my tongue and took my breath. I didn't resist. Another girl carried a tray of red-white-and-blue sugar cookies. I took one shaped like the state of Missouri with sprinkles. An emcee greeting new entrants to the gallery, reported election updates.
David Ford's paintings hung on the wall of the gallery space inside. There was a giant "You" sign, a color-wheel-of-fortune, and a man with his leg in a paper cutter.
The drunk guy from outside had made it in and was dancing in the middle of the room, spinning around and trying to balance. There was a man in a mouse mask and work overalls wearing bondage gear. On an elevated platform two erotic dancers in lingerie danced in a beach scene among palm trees while a man in a wheel chair put dollars in their under-wire bras.
If I hadn't been working, I would had another shot of whatever it was.
As I left the gallery space I was directed out the backdoor by security. I emerged directly onto the stage of a live band playing. The Hearts of Darkness, an Afrobeat based horn band with a great rhythm section, grooved in the alley behind Mercy Seat.
The drunk guy broke into song and caroled out the Star Spangled Banner and America like some world-class tenor. The music broke into a slower more grounded beat. The people dancing moved down lower with their legs apart and arms in front of them or above their heads, beating out the rhythm.
What internal rhythm drives us to mingle in these cross-wired constructions of expression, voyeurism, vice, risk, privilege and duty that reflect our own lives and influence our decisions? Do we indulge in our liberty or our debauchery?
REVIEW:
David Ford "I Like This Country"
Tuesday, November 4
Mercy Seat Tattoo Parlor
New Classical Contributor, VIDs Department Director
Scott Easterday is a musician and singer/songwriter. He writes reviews and performs interviews for KCMetropolis in New Classical and explores new directions in the performing arts.
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