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Hey Tanya, unfortunately, the review is about the film Cabaret and the Brian in question is the Michael York character. Translated it might be something like this:

"And thus Brian leaves Berlin which is already in the firm hand of the Nazis."

Due to the "wacky" nature of this passage in German, Brian and Berlin just happen to fall side-by-side!

There are a million free translation apps out there, like Alta Vista, if you get stuck.
My education really went as far as 8th grade- I never made passed the first year of high school, got my G.E.D. later and went to a few semesters of college- left that as well, and everyone thought I was crazy when I received a full scholarship to the Art Institute of Chicago,and said "fuck it- I don't want to go" and it was not because I think there is nothing more for me learn, they just were not teaching the things that I was/ am interested in- (even if I didn't know what it was I wanted to learn)But it is moments & realizations such as these- that I don't regret choosing to learn from life than institutions:
The information I receive from this forum in the short time I've been a member, has taught me more about art & artists, has sparked a motivation to be aware of the world around me & issues that affect me as an artist & of the artists who didn't make to the "top 40" of the artworld( like warhol-who did- and who I think is about as interesting as that bland-ass can of tomato soup I open up when there is nothing better to eat).. The point of this long winded post - I wanted to show my graditude for sharing your knowledge so openly....But to get to the subject at hand: I was so taken when I read about David Wojnarowicz and all that was said about this amazing man, who I never heard of until now,I was also touched by how humble Hatches sounds when he writes about working with David Wojnarowicz. Also many thanks to D, for opening the topic. It is a shame that an artist of this caliber is not more well known, but his art, at least of what I have learned from all of the posted info,is not about glamour and fantasy or "acceptable" issues, it seems to be the raw truth, and the ugliness most would rather forgot or ignore.

I, too, have been motivated, touched, and intrigued by Wojnarowicz. In 1994 ETC Magazine, for whom I was writing back home (in Atlanta) sent me to the Toronto International Film Festival on assignment to cover what was becoming a "smorgasboard of queer cinema." I remember sitting in the theater, around 4 in the afternoon, when Postcards from America was screened. That was one of the most pivotal moments of my 20's. I had never seen anything like it; I had never heard of David, was not familiar with him in any way (yet), but in that theater, he spoke to me. I just froze. It was uncomfortable and scintillating and correct. One of the few times I've left a film, saying to myself and anyone who would listen, "Yes! There's the important stuff. This is what matters."

A few years later, after moving to New York, a friend loaned me a copy of Closer to the Knives - A Memoir of Disintegration. I was hooked, and began to read as much of his writings as I could find. And then FEVER. He continues to arrest me.

I do not understand why (nor do I need to), but what you say, Tonya, makes sense to me. We are often unconsciously drawn to people, places and things that speak to us. The dots get connected later. DW's writings, visuals and the people in his life seem to find me again and again. Thank you Tonya for this - it's a great and meaningful service you've done.
Hattie, in April 2002 there was a film festival on DW in the UK, it seems to me that an exhaustive amount of research was put into getting all these works together for this show, which would entail contacting anyone who might know something about your missing film. I truly believe it is out there for the finding. My gut feeling is that if you were to contact the person who did the research for this show, explain to them who you are ... They'd love to talk to you, obviously you are an important figure in this body of work. They might recall seeing something like this in a private list of acquisitions that is not currently available for show or passed over for a more "recognizable" piece. If nothing else, this person might give you the best possible leads there are to follow to find it. This has been my gut instinct on this for months, but was hoping the film might turn up Elsewhere, i.e. in a foreign country.

I will make use of those translation libraries; so happy the web is fazing us back to punctuation-free Latin. Thank you for pointing them out. There is a German artist friend of mine I would like to learn more about, esp. his early years which he does not speak (before the wall came down) or does not remember, ... we get together every three years for five minutes and three drinks, and have the best time. I will scan some of his work this year. (I know he would enjoy my talking about it.). But I think he may have produced an out of print art book in the 80s that is not yet archived online yet. And only mention of it I have found is in German, now I may just be able to get that volume thanks to your alta vista suggestion.

Gigi, there is nothing wrong with not having first-hand knowledge of every artist. Believe me, my art education consists of one class at BU on photography through 1950 and "Art 101" for true Hill Billy Dummies. Anyone who would judge you for the handicap (which you will make up for quickly I'm sure) is an academic eletist and not worth your time. At the same time, knowledge is only passed on, when you listen and make use of what has been shared with you. Now back to painting my new apt. I'm thinking hot tub for the yard ....
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I just re-read this entire topic. It's amazing, so much information. Tonya, you are insane... God bless you!

And Doug,
You're a little mistaken... and going to catch hell from ME!
It's just really sad to me that when most people think of New York Art, they think of Warhol, or Basquiat, who as far as I was concerned were more into keeping up the myth of the artist rather than actually producing essential art. I know I'm probably going to catch hell from some people, but what the fuck did those two do that were so damn interesting anyway?

well, that's a whole lot to explain but Warhol & Basquiat are major. Just look at the world around you. Turn on the TV (and don't say "I don't watch TV") It's a Warhol! You may not like it but it's there. And Basquiat's paintings are more beautiful than ever.

But this is about D.W.
Here is "Hattie as Rimbaud", 1979 -gift from the subject. I'm sure it was shot at "The Piers". (not that I was ever there)


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  • hattie
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I love the revisionist history that thanks to Google, continues to take place here. So it was that I got this corrrection about the naming of 3 Teens Kill 4, referring back to a post in this topic three years ago.

Here it goes-


Dear Mother/jackie Johnny and Chi Chi, this is max blagg calling in
to say I am still alive and well, and to correct a niggling little
item on your mother board. Ken Tisa did NOT come up with the name of
the band Three teens Kill Four. I dont think Kenny even came to
danceteria #1 which is where the band was formed from staff members.
I was in the original band with david and jesse, and I came to a
'rehearsal' with a list of names, from which we chose 'three
teens' (I got it from a newspaper headline)after my first choice,
"Sissies from Hell" was turned down as 'homophobic' by a rather
cautious Jesse. We performed in public about three times, notably at
the Danceteria bust benefit "Staph infection" which took place at El
teddy's Restaurant a hundred years ago. love to all, max Blagg
DW was a brilliant artist, I can't believe I never knew him. I too have been borrowing the Fever book on and off from my local library. There is so much details and so many statements were made in there, a myriad of statements. Close to the Knives is a great book, and I also checked it out at my local library and finally bought a copy, and it took a while for me to find one, and I had it special ordered from (get this!) Borders, as well as The Waterfront Journals and his diaries.
Hatches, during our discussions about Threepenny I had to do a double take when I saw your real name in one of the posts, and then I thought why does that name sound familiar, and thought nothing of it till I checked out Fever again and saw the Rimbaud photos and read the pieces that were written up about DW and I thought WOW..So that's who that is! What a life you've had. It makes me look boring and reminds me how I need to live a bit more. Girl, you are a true survivor.
Yes andreabiscotti, 'tis part of my chequered past... I don't know about you needing to live more, though-- simply by exposing yourself to David and Brecht & Weill, you are light years ahead of most in the living department...

And yes, Mr. Joe, the Rosa von Praunheim film! Isn't it where David's mouth gets sewn up? (that was simulated BTW.) Also in the film is the great Emilio Cubeiro... In the mid-1970's, a magazine came out called "Mouth Of the Dragon: A Poetry Journal Of Male Love" (what a title!). I got the first issue at Oscar Wilde-- it was the first of its kind, along with Boston's "Fag Rag." I sent them some of my work and was not only published, but Andrew Bifrost the editor, invited me to read in Prospect Park (funded by the NYSCA btw (!)). Also on the bill was Emilio, who blew me away with his mixture of poetry, early rap and rock. Let me just say that Emilio's performance was one of the events that changed my whole outlook on poetry and what it could be-- the other event was seeing Patti Smith perform with just a piano behind her.

I also saw David read at a later "Mouth Of the Dragon" event, also, I believe in Prospect Park-- and the rest is herstory.
Well, it's fascinating to me, Hattie, that all of this important work that was being produced by you all, work that serves as the documents we need (lest the world fall into even more denial about AIDS, homophobia, abuse, politics, activisim and art than it already has) was informing my sense of the world long before I met you or even made it to New York.

When you and I were doing the Boy Wonder Fridays at Wonderbar, I began connecting some more dots between David, you, me and a certain **sigh** art director I had fallen hard for (hint - he used to go go dance for Linda Simpson about 20,000 years ago). The rest falls under the theory of relativity.

I haven't viewed the film yet (it's in the mail) and I'll have to use my neighbor's VCR...I've placed a rather large order through Amazon to get my hands on a lot DW's works that I haven't had access to before now.

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