Artbound

S4 E2 | FULL EPISODE

Machine Project Field Guide to L.A. Architecture

Machine Project recently invited and filmed over 20 artists to create performances that respond to notable architectural sites throughout Los Angeles, collectively creating The Machine Project Field Guide to L.A. Architecture. The project was part of the larger Getty initiative, Pacific Standard Time Presents: Modern Architecture in L. A., celebrating California’s modern architectural heritage.

AIRED: March 06, 2014 | 0:58:27
ABOUT THE PROGRAM
TRANSCRIPT

(Intro music is playing.)

My name is Mark Allen.

I'm the founder of Machine Project, which is a experimental research and development

space working with artists on ideas in performance, um, in Los Angles.

I started Machine Project in 2003 in a storefront in Echo Park and it's a space that we still

have.

In the beginning, the idea was to have a place for all different kinds of culture in LA to,

kind of, collide with each other.

So, we would do poetry readings, we do food events, uh, experimental ping pong shows,

and we provide a space for projects to happen that are not understood to be successful already

in a conventional sense, and we're really invested in doing that with that with a live

audience.

So, the Getty Museum was doing a city-wide show about modern architecture in Los Angeles

and we were invited to be part of that to do a live programming component to it.

Most of the time, architecture is something you drive by, or you're hiking Griffith Park

and you see it in the distance, or it's an inhabitant to the TV show that you might be

watching.

So, what Machine Project aim to do with this show was to investigate all the different

ways you might experience architecture in LA and collaborate with artists to develop

works.

So, when we were curating the series, we were thinking a lot about how is modern architecture

understood in, like, an art historical context and wanting to provide another voice for it.

And maybe there's modern architecture with a big M, and we were, kind of, interested

in modern architecture with a small M. With all the projects that we did for the modern

architecture series, it was about transforming the perspective of the space for the public,

and so we partner with the artists.

They do research, and they investigate, and they think about what they might wanna say

about a space, and then we figure out how to present that as a project to the public.

It's like this partnership between the site, the artist, and the public with this event

being the moment that brings these three things together.

A big component of the show was making videos for all the projects, and I've been working

with an artist, Emily Lacy, at Machine Project for a long time in a lot of different capacities.

And in the last three years, she and I together have been working very closely on producing

all these videos.

The use of filming allows you to see these different perspectives.

So this idea of, uh, the camera being a way that the viewer can move through a whole space

feels to me like it connects very strongly with the idea of exploring architecture.

One of the pieces for the series was called Welcome by The Sunland Dancers.

It was developed by Jmy James and Tara Jane O'Neil.

Tara and Jmy developed this piece to take place in the hills behind Lincoln Heights

with Downtown Los Angeles in the background.

Jmy runs a space called Pieter in Los Angeles that a lot of, uh, interesting new dance pieces

are coming out of.

And when I first began thinking about this series, the first idea I had is there has

to be a piece where LA is the backdrop.

So you're not inside of the building, you're not investigating a modernist's house, but

it's this idea of LA as a location or LA as an environment.

(Birds chirping.)

(People walking up the mountain.)

Yeah.

Listen, I do think (UI)

(Woman is laughing.)

(A dog is barking.)

Yeah.

Like while running.

(Women doing warm-up exercises.)

(Music is playing.)

(Woman breathing heavily.)

(Sound of footsteps made by women dancing.)

(Women are dancing.)

(Music is playing.)

(Women grouping together.)

(People clapping and cheering.)

(Sound of fireworks exploding.)

(Hilltop view of the city.)

(A dog is barking.)

(UI)

(Woman is laughing.)

Uh, my name is Kamau Amu Patton.

I'm a intermedia artist.

I do, uh, drawing, painting, sculpture, uh, and, uh, um, extended media.

A big aspect of my work is to engage with, um, the host environment.

In terms of this project, um, engaging with the skyline of, uh, Los Angeles.

Part of my, um, practice involves, um, performing sound works, building sculptures that I play,

um, to create these sounds.

So, uh, my initial, kind of, idea was to find a space that would complement the sculptures

that I make and something that would provide a, uh, a nice, uh, interior for, um, for sound.

During a break from searching, um, I went to the Buenaventura Hotel.

The rooftop, um, bar, um, rotates.

Just noticing, um, the, kind of, landscape of buildings around and, uh, and seeing those

buildings from, like, the ground up, you know.

And being that high up, I was like, "Oh, wow."

Like, this is that LA that I've been looking for, you know, and this is also the LA that,

you know, thinking back, I've, kind of, had a, a relationship to through movies.

Um, you know, this is like these icons of, like, LA architecture, LA, um, you know the

downtown.

I was just wrapping it around in my head, like, well, how do I, how do I engage this?

Like, how do I engage these architectures, um, in a way that really shows them for what

they are?

And I was like, "Oh, well, from the sky."

(Sound of helicopter blades whirring.)

The flight plan is to go towards Downtown LA and take a look at buildings that held

the title of being the tallest building in Los Angles.

We'll be able to communicate through, through the, the headphones, and then you'll hear

me through this omnidirectional as well.

You'll, uh, hear it like.

(Fingers are clicking.)

(Helicopter blades are whirring.)

(The helicopter is taking off.)

We ought to pull it down there.

Yeah.

(UI) right?

(Bird's-eye view of LA.)

(Helicopter blades are whirring.)

(High pitch sound is being played.)

Do we get closer to city hall?

Mister (UI) this one?

Yeah, let's get there.

(Music is playing.)

(Bird's-eye view of buildings in LA are being shown.)

(Helicopter engine machine is revving.)

(Helicopter blades are whirring.)

(Music playing in the background.)

My name is Jacqueline Gordon.

I work with sound and sculpture and installation.

I grew up in Long Beach.

I drove and commuted all over the place growing up.

You kind of get used to parking in random, um, shopping malls, strip malls, and walking

into an empty storefront and having a totally different experience.

And so I, kind of, wanted to do something regarding that and with office buildings and

with, um, kind of, that anything can be rented and anything can be used in these buildings.

They're not, um, a specific architecture and that, uh, people here are extremely creative

in what they're able to do in all these different types of spaces.

My goal was to find a space that had different levels of, um, small spaces and large spaces

and different kinds of material, and also different kinds of geometry because what I

was really trying to explore is acoustics.

The location that I ended up doing this project is in the produce district in Downtown LA.

The food center building, um, was kind of perfect because it had, uh, these different

rooms that I could use including a stairwell that was extremely reverberant.

And then there's a, there's a hallway that wraps around the whole building.

You could get lost actually kind of easily because everything looks the same.

All the buildings have the same--all the, all the doorways have the same trim, have

the same doors, have the same labels.

Exploring the, the sonic qualities of the space and, um, and getting lost in it was,

uh, was really what I was trying to, to evoke.

Three, three, three, three, three, three.

(Techno music is playing in the background.)

Five, five, five, five, five, five, five, five, five.

(Techno music playing in the background.)

Two, two, two, two, two, two, two.

(Techno music playing in the background)

Well, I'm Asher Hartman.

I am an artist and experimental theater director and I have a company called Gawdafful National

Theater.

So, I put this theatrical production, Glass Bang in the Schindler house for very specific

reasons.

Firstly, it's a masterpiece.

It's one of the most beautiful modernist environments that I can imagine.

It's also a place that's extremely desirable.

For me personally as an artist, extremely desirable's an artwork and also sort of speaks

to the impenetrability of that, that you actually can't own the Schindler house.

You can't live there.

And I'm interested in the relationship of the artists to the art piece, affordability,

accessibility.

I mean, the piece really deals with money, class, the ability to own a home, own a body,

to own anything.

The story is about a man who, uh, left his very beautiful home with two, uh, people,

a couple, uh, men, two men, to take care of.

He comes home and he finds that, uh, all the furniture is gone.

And he's also invited his ex-wife to, uh, party with them, to--for a welcoming, and

all these other people who he doesn't know.

We wanted the audience to be literally in the play.

And I like that.

I like that because you're living inside of this party.

Part of it is this utopic dream that architecture will fit people, serve people, better lives,

make life interesting, make life beautiful.

And on the other hand, uh, closes down that conversation for some.

Do we, as artists, and I guess I think about this all the time as an artist, you know,

I make art that is for a particular class.

Typically, other artists come and see it.

Intellectuals come and see it.

Maybe people with, uh, uh, money or people on the higher end of the economic scale see

this work.

So, who is it for?

What is it?

How does it really go out into the world?

How does it really better, um, the social landscape?

It's a question, I think, for me as an artist that I grapple with all the time.

What does this do?

Um, we have these high ideals.

Are we able to attain them?

(Sound of people harmonizing.)

(Man is laughing.)

I'm good.

Yeah, you're at two-piece.

(UI)

(Indistinct chatter.)

Welcome to our party.

I'm so glad you made it.

(Indistinct chatter.)

Megan, of course.

God (UI)

Yeah.

No, I like this.

Uh, Evan, of course, welcome here.

Byron.

This is my partner, Byron.

Hello.

I'd like you to meet him.

Megan.

(People are laughing.)

So glad you could come.

Thank you.

You've been&

(Indistinct chatter.)

(Man is laughing.)

Could I get you a wine or a beer?

He's part of the family, so.

We have Chardonnay, pinot grigio...

I refuse to eat and I remember this.

And she, she was like running around trying to, like, make food just like (UI).

Excellent.

We better catch up with them.

Here, have another drink there.

(Indistinct chatter.)

I see your smile.

Ssh.

Ssh.

Ssh.

I remembered.

Ssh.

Ssh.

Yeah.

And it was great.

When I hear your plans, signs you are whispering, and my hands are not my own.

River guides me, peace makes fun of all my desires I left alone in the sky.

A home is not enviable.

Listen in the trees, in the glass.

(A bird is chirping outside the window.)

Sometimes, I get the feeling, like, people are watching me and watch me move around,

make decisions, maybe the neighbors.

(People are humming.)

Megan, what do you want a woman for?

Friendship.

Friendship?

Awesome.

You know, companionship.

How about Apollonia, what do you want a woman for?

Safety.

Safety?

Companionship, friendship, safety.

Marianne&

Yes?

What do you want a woman for?

For love.

For love?

(Woman is laughing.)

Yeah.

Yeah.

Yes.

You know, some men are like dogs, you know, without stomachs.

They just eat and eat and eat and eat and eat and eat and eat and eat and eat and eat

and eat and shit it all out for somebody else to clean up, but we just keep feeding them.

Has he died?

No.

I think--you too.

I--oh shit.

Why does my hand hurt?

I mean, it twitches and it, it aches.

I--oh, oh, oh, my God, he's the guy who owns the house.

He's the guy that owns the house.

It's, it's, it's the&

Ba, ba, ba, ba, Byron.

Oh, (UI)

Ba, ba, ba, Byron.

Can you dig it?

Ba, ba, ba, Byron.

(UI)

Ba, ba, ba, Byron.

Bye.

(Sound of people whistling inside the house.)

Do you think Byron's okay?

Who?

Byron?

Byron?

He's fine.

What are you talking about?

Of course he's fine.

You think he's acting normally?

Yes.

You--no.

Oh, come on.

He's totally fine.

Byron is fine.

Listen&

He seems&

All right.

If you say so.

If you say so.

Uh, if you just get into trouble, if you're having problems, I don't know what the deal

is with you.

Uh-huh.

But if you're, if you're breaking the scene, everything (UI) you just call me.

Just wave your hand and call me and I'll be over.

Okay?

Oh, thank you.

All right.

Thank you.

Okay.

Okay.

Okay.

(Sound of glass clanking.)

This has to stop.

Let's stop.

Come on, it's very slow.

It's very slow.

(Woman is laughing.)

Sorry, sorry, sorry.

Just step--you even say.

And now the play begins.

Salud.

Salud.

Salud.

Yeah.

Kanpai.

It's okay.

Cheers.

Salud.

In my world, there are no women.

I fly here and I fly there&

(Woman is laughing.)

&and I've seen none.

(Musical instrument being played.)

Uh, who's, who's this?

Uh&

Oh, that's Brian from the crab pot.

(Man is hissing.)

(Women are laughing.)

Uh, do you know that's a come on in Israel?

Well, I was there recently and I fell into the most wonderful encounter with an Arab

man.

His penis was long and slim.

I took it in mouth and thought, "May this day never end."

(People are laughing.)

That was my real wish.

Now, because there were no women there, there was no one to stop us, no one to call us in.

So, we stayed out all night under the stars.

Do you how many stars there are?

Everyone, tell us which condiment you most detest.

Ketchup.

Ketchup.

Relish.

Mayonnaise.

Ketchup, I love ketchup.

I love condiements.

Hmm?

(People are laughing.)

She's&

Uh-hmm.

Relish is (UI)

What is that smell?

What is that?

Spit and the odor of constant motion.

(Man is stomping his feet.)

Oh, wee, beware of me, little children.

I'm a wolf.

(Sound of drum rolling.)

Beware of men who love each other.

They'll upset the world.

May I, sir?

May I also return to you?

Words do not work, matter and space softly.

God's image, perfect existence, heart's emanation softer than air and yet more graceful.

Thou who conforms to my desires.

Get it on iTunes for 99 cents.

Oh, Evan.

Evan.

Of all the people seated here, there's only one who truly loves me.

(Jazz music is playing.)

So soft is the light of the moon, wild green is the heart too soon for God you love me

not my due.

We were only half awake.

It was only now all the love we were to make, but you've forgotten how.

Now, you smile and turn away, away, away, away.

I know what you mean.

I was outside in those Santa Ana Winds.

Ooh, crazy, just whipping up between my thighs and blowing up my dress.

Can't stand it.

Hey.

Hey.

Hey, Miss Boulevard.

Hey, missy lady, 3033 hello, hello.

She's better late than never.

Hey, hey, hey.

Hey, this lady.

I don't exist.

When I'm in love, it's only you.

I'm a cloud in early mist, a stream near the morning dew.

Nonsense.

I am the ether.

I am the wind.

Nonsense.

Nonsense.

Bye.

I love the shuddering sense I get when I consider how nature conspires to hold me inside, pressed

up against the threat to which they out there are perpetually exposed.

Enough of this talk.

Byron, I love you, but you're going on Diet Tribes, and then you're going on Diet Tribes,

I can't understand what's coming out of your mouth.

God, you're in the foulest mood tonight.

Hey, Brian.

Uh-hmm.

It's a party.

Could you put some music on, please?

Absolutely.

That's a good idea.

What would you like to hear?

Oh, I don't know.

Something.

Something light, something poppy.

Hmm.

Right.

Something people can dance to.

Dance to?

No.

Sorry.

There.

(Sound of a tambourine.)

I eat antipasta twice just because she is so nice, Angelina.

Ba ba ba bomp ba bomp ba bomp.

Ba bomp.

Angelina, the waitress at the local pizzeria.

Ba ba ba bam ba bam ba.

Ba ba ba bam ba bam ba.

Ba ba ba bam ba bam ba.

(Singing in Foreign Language.)

Angelina.

Ba ba ba bam ba bam ba.

Ba ba ba bam ba bam ba.

Angelina, the waitress at the local pizzeria.

Ba ba ba bam ba bam ba.

Ba ba ba bam ba bam ba.

I wanna go back to another time.

Okay?

When?

Two days ago, we were in the bedroom.

Everyone, grab your spirits.

Come on.

We're going upstairs.

Days ago, you and me, almost alone, no company.

Days ago, no chums, no buns, no glum roomies.

Spirits, my love.

Come.

(Sound of violin being played.)

Remember when you were an ordinary man.

Remember when you would take my hand and clutch it to your heart?

Remember when we planned vacations, looked for sales, made reservations when we fought

over little things like sex and money, things you said that were not funny when we were

lost.

Two nights ago, it was almost midnight, Brian walked in, eating an apple.

Uh-hmm.

(Man is laughing.)

Hey, Brian.

Sup?

Um, could, could you go and turn off the living room light, please?

No problem.

(Woman is laughing.)

He never turns out a light.

I mean, that's the third time.

When I was young, I, I had an alter ego, a type of bird, a bird of flight.

I was really nice to them.

You think I was rude?

This bird of flight was Briar.

Ugh, priestly power he had.

And in the umber night, I would steadily walk up the red rocks to this, this brightly-lit

paper house, white like a lantern.

There, I called Briar, my bird, my mate.

Uh-hmm.

And he'd come and he'd put his beak really close to mine, and I could see his two golden

eyes.

And he would shift so that we could look into each other.

That was our meeting place.

And then he would slip into me and I could feel my tiny heart beating hard against my

breast, like a seed capable of lifting me off.

Where I wept, human feces would copulate and dismembered (UI)

Byron, you know, there's something really wrong with you.

Uh-hmm.

(Man is laughing.)

Yeah?

Is there something wrong with us?

No.

Do you think you can ask Brian to go?

Brian?

Yeah.

Why?

Hey, guys.

Speaking of the devil.

What is it when you have to drink and drink and drink all day laziness?

(Woman is laughing.)

Alcoholism.

That's it.

(People are laughing.)

Does it work for these two crazy guys?

(Woman is laughing.)

I'd be working in a office somewhere going out of my mind.

Uh-hmm.

These two guys saved my life.

Oh, yeah.

Take a picture of me and Evans.

Excuse me.

I'm sorry.

Come on, dude.

Excuse me.

Oh, come on.

You're such a party-pooper.

Now see what you did.

Uh-hmm.

Okay.

We need a third, come on, there's room.

All the warmth's on it.

You might as well jump on in.

It's already warm.

Third.

Hey.

Hey.

Hey.

(People are laughing.)

That's right.

It really feels good.

I know.

(UI)

Hey.

You're like a puppy.

Yeah.

(Indistinct chatter.)

(People are laughing.)

(Man groaning.)

Now is the winter.

(People are laughing.)

Now, poop, I hate that stuff right there.

Let's see.

Um, wait, I got another one.

There's an ubermensch and an undermensch, not to mention underwear on a wenvh, under

a bench, which is where exactly I'd like to be (UI)

Tell me, is it getting dark now?

He broke the sound barrier.

(People are laughing.)

We stopped light, okay?

We discovered about an hour ago.

We killed the power out.

(Instrumental music is playing)

Right?

(UI) birth control pills.

Me and Byron was (UI)

I mean, we--it--it's okay.

Pinto bean!

Shut up, cracker.

God damn.

Well, damn.

That's pinto bean.

I said pinto bean, huh?

Uh, he's just a drunk man.

He stays drunk all day.

Ooh, he's never funk man.

He got nothing to say.

(Musical instruments playing.)

He looks like a loner.

His head is much too long.

I think he is a stoner that's why he can't go on.

But you don't know me.

You don't know him.

That skinny boy who walked away.

Let's give him a hand.

(People are clapping their hands.)

Whoo.

Whoo.

All right.

Whoo.

And they're good-looking, too.

And they're all good-looking.

Now get out 'cause the room is mine.

All of a sudden, I found myself outside by the pool.

My ribs were bruised.

And yet I felt the most blistering sense of ecstasy.

Since I've been back, my sense of smell is acute, my body is slack, my house is not my

own.

Will you let us live here?

Uh, I cannot move in small spaces.

I need air.

Ugh.

Air.

Will you kiss me?

Maybe.

I see a hole on the ground, and the hole in the ground is your throat.

I see the ridges of your esophagus.

Your esophagus leads me back to my cock.

Uh, listen everyone, the time has come for me to tell you goodbye.

It's time for you to leave my house, unless of course you serve a purpose.

You serve a purpose.

We were invited here tonight under false pretenses.

They can't say.

No, no, no, no.

The party is over.

It is not over, no.

I just don't want to upset him.

No, it's not over.

Please.

Is this your bag?

Is that your bag?

Megan, your bag, he's gonna take it.

Take your bag.

Please take your bag and go.

I'm serious.

No, no, no, no, no, no.

It's time to go.

Kevin.

Please, it's time to go.

Kevin, would you stop?

Come on.

If you have anything--if you brought anything with you, please, get your stuff and go.

Pay no attention.

Put your drinks down.

Don't move.

No, put your drinks down, no.

The party is over.

It isn't over.

Kevin&

Please.

&what is your problem?

I'm, I'm serious.

I can't believe you're treating us&

Please, out.

No, no, no, no.

No, stay.

You, you did--get out.

Everyone, I don't have&

Get out.

Get out.

Fuck.

Get out.

This is not a joke.

Get out, get out.

Get, get out.

Get out of my house.

Get out.

Get out.

Out.

Out.

Out.

(Man imitating sound of dog.)

You, especially you, take your purse and all your friends and go.

Oh, what do you got to say?

Uh, tell me what you got to say.

Nothing coming out out on your lips now.

Surprise.

(Violin is being played.)

Your body's not your own, we've known that, they're clever.

Your body's not your own, we've known that, forever.

The skin stretches, Chase CD, $44,315.19.

You're right.

Poetry.

You're right.

Music.

You're very humbling.

Design.

Ah.

Netflix, 50 shares, 21,641 I bought them in '09.

(Man harmonizing.)

Stop.

Stop.

Stop.

Oh, go, go get him, go get him, go get him.

Go get him.

(Sound of vehicles passing by the house.)

(Sound of footsteps walking into the room.)

I'm ready to reclaim what's mine.

I'm ready to open my soul in front of the whole group and tell them all I've suffered

for so long for playing a thing.

Come on, what do you say?

You and me?

I'm tried.

I'm bored.

I'm stiff.

I'm sick of living.

And you heard it.

I'm done.

I'm tapped out.

Deers, doves, chariots of light could not get me out of my funk.

I have no freewill.

I hate everybody regardless of where they come from.

I don't care.

I just do what the little pebbles in my mind tell me.

Let's face it, you and I both know it.

There's nothing for it.

Nothing to be done.

It's ancient.

It's an old curse living.

(People playing musical instruments.)

I know what you need.

Then it's like, it's all about sex, you know, hard cock.

Creation.

(Sound of water splashing.)

(Suspense music is playing.)

Uh, my name is Max Markowitz.

And I'm John Wood.

We started this music group about seven or eight years ago called Ing.

It started out as just the two of us improvising music with each other and making records.

This performance was at the Maranatha High School pool, which is on the Maranatha High

School campus that includes the Ambassador Auditorium in Pasadena.

What was interesting about all of the examples that we were showing is they were more subtle,

obscure things to focus on in Los Angeles instead of the really big, like, obvious ideas,

and, and Bennett was really interested in finding, like, hidden gems in Los Angeles

like this pool.

I think the, uh, the opportunity to use all the difference spaces within the pool area

was really intriguing to us.

We found out that there are speakers in the pool, that we can project music, that the

music that we're playing in the outside room also in the pool.

And then there is a bottom room, a viewing room, that we thought that we could make different

music down there that would bleed into the pool also.

So then you would have, kind of, three of different performances.

You'd have that main room performance, and then it sounds much different once you're

under the water.

And then you would have the viewing room performance, and then we rotate going back and forth performing

in all three areas.

It's like we're on a loop, too, so then I would start--if I was downstairs playing,

once I notice that he was coming down the stairs, I would stop until they start leaving,

and then we would pass each other and keep doing that in and out of the pool thing over

and over.

The main approach to the space was to really use it as an instrument and let it play itself.

I think that the audience was as much a part of the piece as we were in certain ways because

just their physical presence in the room changed the frequencies that would naturally, naturally

reverberate in there and&

Absolutely.

And they changed the sound that was in the pool, and those sounds, we were recapturing

with microphones and putting back into different spaces.

So, the audience, they were really playing the instrument of the space just as much as

we were.

(Music is playing in the background.)

(Man swimming in the pool.)

(Man walking in the pool.)

(Man coming down the stairs.)

(Man diving into the pool.)

(Man inside a glass enclosure looking at the people swimming.)

(People are swimming in the pool.)

(People clapping and cheering at the poolside.)

My name is Jessica Cowley.

I work at Machine Project but also host sing-alongs in public and in private.

My name is Bennett Williamson.

Uh, I'm an artist.

I work in a lot of different fields, a lot of media related work and that kind of thing.

Um, and I also worked at Machine Project, uh, as a project producer, sort of a project

manager.

So, I did a lot of research for this project since I was finding all the different sites

that the artist were gonna work with, uh, for the whole field guide to LA architecture.

I think the Happy Foot/Sad Foot sign was more of like already a populous landmark that I

knew about just from being in the neighborhood.

So, I was interested in it in a personal way, even though it didn't have some of, like,

the history and weight, and the serious, like, modern architecture cred of these other locations

we're looking at.

The Happy Foot/Sad Foot sign is on Sunset Boulevard, sort of right on the border of

Silver Lake and Echo Park.

And it's in front of the Los Angeles Foot Clinic.

It has this big rotating part on the top, uh, one side of it has a cartoon of a sad

foot in crutches, uh, and the other side's like a happy foot, jumping up in the air.

The local mythology or lore is that if you drive by the sign and you see the happy side,

then you'll have a good day, if you see the sad side, you'll have a bad day, or you can

ask it questions.

Um, and I actually have a, a terrible OCD relationship to the sign where I need to look

at the sign, if I see the sad side, I need to wait until it spins around to the happy

side, then I have to, like, give it sort of, like, a, a nod.

When I was talking with, uh, Mark about the project, he mentioned that Bennett was looking

to do, uh, a physical celebration of the sign in addition to his online piece.

Um, and I had actually, for Machine Project, done a sing-along in public space the summer

before.

So, um, we thought that that might be a good matchup.

It was obvious that we wanted to do something about happiness and sadness.

Our initial thoughts were, well, we could do happy songs and sad songs, but you realize

how difficult it is to pick a song that's just about being happy or just about being

sad.

So many songs are about, like, love gone wrong, or, like, love forever.

Um, and we went back and forth just, like, brainstorming.

We also wanted to think about which songs were easy to sing or people might know or

were fun or memorable, and, uh, eventually, we whittled it down to, like, three sad songs

and three happy songs.

And we just would alternate between sad and happy, sad and happy.

And literally everyone was looking up at the sign, singing to it, um, and one of my favorite

parts of the sing-along wasn't actually a specific song, but at the beginning, we did

a warm-up, and we all stood in a circle around the sign.

Half of us got the happy foot, half of us got the sad foot, and we modulated our voices

(makes noise)

(makes noise)

And, uh, and that was, like, a, a beautiful, very physical way to, to vocalize the sign.

Thanks for coming, everybody.

We're here celebrating the Happy Foot/Sad Foot sign.

Uh, you may have heard that it has the power to predict the fate of your day.

When you drive by in the morning, they say that the first side that you'd see, whether

happy or sad, will predict if you have a good or bad day.

Um, but we wanted to celebrate the sign through a selection of songs that talk about the duality

of happy and sadness, uh, in our lives.

So, everyone, look up at the sign and when you see the happy side, go, "Yay."

Yay.

And then when the sad side comes around, go, "Aww."

Aww.

Yay.

Aww.

Sweet Caroline, rum pum pum, good times never seemed so good.

So good, so good, so good.

When you're with me, baby, the skies will be blue for all my life.

It's such a perfect day, I'm glad I spent it with you.

So take a good look at my face, you'll see my smile looks out of place, if you look closer,

it's easy to trace the tracks of my tears.

I need you.

I need you.

(Sound of drum is playing.)

(Sound of a car's engine revving.)

(People singing.)

(People are cheering.)

Yay.

One two, one, two, three, four.

(Happy Together instrumental is being played using musical instruments.)

Yeah.

(Credits are rolling.)

Where it began, I can't begin to knowin'.

Come on, everybody.

But then I know it's growing strong.

Was in the spring, and spring became the summer, who'd have believed you'd come along?

Along.

Hands.

Whoo.

Touchin' hands, reachin' out, touchin' me, touchin' you.

Sweet Caroline, ba ba Ba, good times never seemed so good.

So good, so good, so good.

I've been inclined ba ba ba, to believe they never would, but now I look at the night and

it don't seem so lonely, we fill it up with only two.

And when I hurt.

Whoo.

Hurtin' runs off my shoulders.

How can I hurt when holding you?

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