lightnews june 17
DESCRIPTION
ÂTRANSCRIPT
Contributors
From the LightNewsArchives
As one of its Weekend Illuminations, Lumina-to Arts Festival has treated its audiences to a lecture the likes of which this city is unlikely to see again. Liverpool-born William Patrick “Paddy” Hitler, son of the German Chancel-lor’s half-brother, was in Toronto to share his insights into his uncle’s regime. Rambling and electrifying by turns, Mr. Hitler claimed his uncle intends to make a claim on the Free City of Danzig, and plans to steal all the gold in Luxembourg to fund his munitions plants. It has been learned, by this reporter, that the younger Hitler has attempted to extort money from the Chancellor, and is generally looked upon as a scoundrel on the other side of the pond. Does it run in the family? Only time will tell! Refunds will be honoured at the LAF’s box office on Front Street.
—Staff
Surrendering
As far as I’m concerned, Robert Wilson is one of the greatest geniuses of modern theatre. I first saw his work in Paris in 1973. It was Deaf Man Glance, which was his first major piece. I have memories of that production that I have never forgotten, including one in which a woman rolled out onto the stage but seemed not to roll along the floor; she was on some air cushion that was invisible, and she bounced on it, and came down. The one thing that Wil-son does so extraordinarily—and I look for it in every one of his productions—is lighting. I come from television originally and I know that lighting is everything and I always look for how he is going to light and where the lights are, and he always surprises me. There are moments in The Life and Death of Mari-na Abramovic where people are lit red, green, blue, white—and you know that that spec-trum he has given you is actually the shatter-ing of all light together. To put him together with Marina Abramov-ic is utter genius. She brings to Life and Death a kind of impressive resignation which is totally bemusing to the audience. You see her expression and then you are watching almost through her eyes. She is so receptive, non-judgmental, and also somehow empa-thetic without being sloppy. There was a moment when the soldiers came out with flags and because the flags were white—that is, white for surrender—we were surrendering to life. We are surrender-ing to life with Abramovic and we are surren-dering not only to her life, to which we bear witness, but to our own lives as well. Our rela-tionships with our own mothers, our relation-ships with our own lovers, our relationship to work, to art. I think it was most amazing. And the performances are absolutely won-derful. Willem Dafoe is incredible in this piece. The way in which he energizes the elec-tricity running through the whole work. When he is finally almost buried in the smoke, it’s as if all of that energy goes down again into him and rises up to lift everybody at the end. We have that transformation that we know is going to come, and when it does it is so deep-ly satisfying. Antony’s singing and his music scape for this piece are thrilling moments of sound that penetrate into the movement of one’s blood and brainwaves. It is visceral. Also, Wilson demonstrates what language is through the looping of Dafoe’s speech. It adds to our idea of what language is, critically. When the second act opens and you see that image of the eye, I thought ah! Salvador Dali and Luis Buñuel, Un Chien Andalou—the famous scene where the razor blade cuts across the eye, that moment in cinema that is the most truly surrealistic. You are given that in this piece but instead of the razor blade you have a needle coming down into the iris and the apprehension is so great. This is an absolutely magnificent piece of theatre. To me, it is what theatre should be. Theatre should transform you. It should make you feel that you can’t live any other kind of life.
A PERFORMANCEIN PRINT
Vol 1 / No. 4
HITLER’S NEPHEW A SOLD OUT CURIOSITY AT MASSEY HALL
Comix by Lorenz Peter
lorenzpeter.blogspot.ca
LightNews Vol 1. No 4. LightNews is is an indepen-dent program of Luminato Festival. The views and opinions expressed herein are those of the writers and artists and may not reflect the views and opinions of Luminato Festival or its sponsors. Total accrued sleep over opening weekend of all Luminato staff: 106h,14m, (5.4 hours per staff member).
Miroslav Glavic is a photographer. He has travelled every corner of the world, except Antartica. He currently lives in Scarborough.Inger Ash Wolfe is sleep - deprived. She is the author, most recently, of A Door in the River.Jonathan Castillino & Tom Ryaboi are Toron-to -based photographers.Farzana Doctor is the author of Stealing Nas-reen. She reads at A Literary Picnic on June 22.Don Gillmor’s most recent novel is Mount Pleasant. He reads at A Literary Picnic.Kat Sandler is the artistic director of Theatre Brouhaha. She moderates the “Gob Squad” Lunchtime Illumination at the Hub on June 18The Right Honourable Adrienne Clarkson was Canada’s Governor General from 1999 to 2005.Lisa Moore is the author, most recently, of Caught. She reads at A Literary Picnic.Maggie Thistle is a Luminato internSteve Cohen is known as “The Millionaire’s Magician.” His Chamber Magic show plays June 18-20.Dave Lapp and Lorenz Peter are Toronto cartoonists.Ania Szado’s most recent novel is Studio St. Ex. She reads at A Literary Picnic. Ember Smith is a singer songwriter and is way talentedJorn Weisbrodt is Luminato’s artistic director.For tickets and more information, please visit www.luminatofestival.com
Monday / June 17 / 2013 Toronto, Ontario
EDITOR IN CHIEFMichael Redhill
ASSISTANT EDITOR/INK-STAINED WRETCHNora Fleury
ARTISTIC DIRECTOR, LUMINATO FESTIVALJorn Weisbrodt
PRODUCTION MANAGERDan Daley
DESIGNPentagramDan Daley
Masthead
TH
E EA
VE
SDR
OP
| N
ewsp
aper
boy
: “M
ay I
offe
r you
a c
opy
of L
umin
ato’
s da
ily n
ewsp
aper
? It’s
wri
tten
by
the
artis
ts o
f the
Fes
tiva
l!” P
atro
n: “A
re th
ere
filth
y ca
rtoo
ns in
it?”
— Tom Ryaboi
Adrienne Clarkson writes in to LightNews on Abramovic opening
Artists on a BLIND DATELuminator volunteer, Miroslav Glavic, on love and dancing at the Festival
June 17 1939
CLUE #3 of 8: The key is somewhere within a box of city streets defined by Spadina Avenue, Dundas Street, University Avenue, and King Street.
Find the Golden KeyA golden key is hidden somewhere in down-town Toronto! The person who finds it and brings it to the Information Kiosk in David Pecaut Square wins a pair of tickets to every show at Luminato in 2014.
High over the Hub, J15 / 2013
One of the years I volunteered at Lumina-to, I was answering questions from people at “Light on Your Feet,” a public dance class that took place during the Festival in 2008 and 2009 at Yonge-Dundas Square. A quite elderly couple came up to me and asked me if they needed to get tickets and if yes where did they get them and how much. I told them that they didn’t need tickets as it was free. I explained to them about the different dances being taught each night. Gave them a guide. They thanked me and then they turned around and went into the square. They listened and danced. They seemed to enjoy dancing as they came back every night of the dance lessons. At the end of the first night they thanked me. On the last night I said to them that they must enjoy dancing, since they’d come every night. They said very much. I asked them how many years they’d been dancing. They said it was more than double the years I have been alive. (I am 32.) The man told me that their coming back each night was a birthday gift to each other, as they had recently each turned 100 years old. The man said that he was still as in love with the woman as he was in highschool. They looked at each other. He said he was still happy that she said yes to him when he proposed all that time ago. He got on his knee right there in front of me and proposed to her again, to renew their marriage. The dancing had brought their feelings of love back. She said yes. Each night when they came, they would make small conversation with me before and after the dance. I have no idea why they picked me instead of another Luminato vol-unteer or staff. Some time the following year or so, I was doing my grocery shopping and I was in line at the cashier. Behind me, an elderly woman was standing with a man and she asked me if I had been at Luminato Festival in Yonge-Dun-das Square. I said I was, I’d volunteered for the Festival. She said that she and the man beside her were the ones from the dances I’d spoken with. They thanked me, I smiled and said you are welcome. We made some chit chat until my turn came to pay for my grocer-ies. I paid and I mentioned to them that Lumi-nato is yearly festival. I thanked them for the memories, then I said goodbye. I haven’t seen them since that time. What made me think about them is that they broke every myth/stereotype/whatever you call it about people their age. They cer-tainly danced better than I could have and they were some of the best dancers each night. There was something about them coming all those days in a row, at their age, both loving each other, and showing that love through dancing.
Luminato Festival’s first weekend saw huge crowds descend on the two main public spac-es of the Festival, the Hub at David Pecaut Square, and the Distillery. The weather co-operated on Saturday, but changed its mind on Sunday when driving rain began in the morning. This reporter saw diehard joggers along the Rosedale Valley Road braving the torrential weather just after dawn Sunday and wondered if they would come to brave Laurie Anderson and Ai Weiwei under such skies. Luckily, the weather improved. Saturday saw a crush of Luminato-goers packing David Pecaut Square for a roster of concerts and activities that included Ember Smith, Sarah Harmer, Long Shen Dao, and Maxi Priest give a series of free concerts on the main stage. At almost midnight, Kid Ko-ala took to the stage under a perfect night sky, the mirrored facets of Michel de Broin’s One Thousand Speculations throwing a cool, silvery light against the towers enclosing the Hub, and set the place on its ear. Space Cadet—Kid Koala’s interstellar op-era, sit-in movie, talk show, and scratch rock party—had hundreds of lucky ticket-holders reclining against inflated pillars lying along the grass, with their headphones on. On-lookers witnessed a genuinely surreal sight: a silent concert broken only by the sound of applause. Koala put on his trademark fur-ry costume halfway through the evening, explaining that the koala suit is a result of a losing bet that saw the groundbreaking Mon-treal-based DJ and comic artist agreeing to wear the costume for one hundred public ap-pearances. Over at the Distillery, the public encoun-tered a busy hive of cooking activity, as grade 4-6 students showed what they’d learned from some of the city’s best chefs in the Fu-ture Tastes of Toronto event. Every alley and roadway was bursting with tents and scents. Kids worked seamlessly in teams with some of the city’s best chefs, preparing classic dish-es like mussels in white wine and soft rice and pork tacos drizzled with fresh salsa. To the sounds of chants and excited voices blaring out of megaphones, the public ate it all up.
—Staff
HUBBUB AT THE HUB, DISTILLERY
Pro & Con
I am an early riser. Not by choice and not al-ways happily—I don’t wake up like the Von Trapp family singing in the hills. But most mornings at around 5:00 a.m. I wake up and am incapable of getting back to sleep. In the summer, I often go up to my office and get an early start on things. In winter, my office is too cold and forbidding and I walk to the yoga studio and get some narcoleptic exercise. The payoff is walking back at 7:45, drinking a dou-ble expresso, brimming with calm. I feel like Gandhi. One of the subtle joys of being awake early is that you have the world to yourself, more or less. There are dog walkers out in the park, sil-houetted in the gloom. There is the guy who delivers the paper. But otherwise, the streets are empty, the houses dark. I am the only one getting any work done. When I actually get any work done.
— Don Gillmor
The difference between starting early or sleeping in pivots on humankind’s worst in-vention: the alarm clock. I cannot start early without one. An alarm clock makes for a terrible start. It doesn’t matter that my iPhone alarm is “Feel-ing Good” by Nina Simone. When I awake, disoriented, snatched from a lovely dream state and in the wrong part of my sleep cycle, I can only assume that Nina is taunting me with her dragonflies and butterflies all havin’ fun. If starting early is all about the jarring kick-start to the day, then sleeping in all about the slow beginning. It’s in these first quiet mo-ments of consciousness when sweet things happen: I listen for writing inspiration, I sense my lover lying beside me, I stretch into the fullness and boundaries of my body. The day can wait until I’ve done all that. — Farzana Doctor
Waking Up: a User’s Guide, by Don Gillmor and Farzana Doctor
Great brainstorming session tonight with Erik on We Are The Bomb (a site-specific Fringe Festival play set in a bar, about a group of young people who, on the eve of modern Canadian prohibition, establish their own country). Although the play began as a jaunty situational comedy, it has now spiralled out of
my control into an all-encompassing political play with big themes and ideas and messages. This terrifies me, because I know absolutely nothing about politics. Erik,―who knows lots about politics,―and I sat in the bar for five hours, drinking beer and viciously arguing to get our points across. The script breakthrough fell into our laps practically as we said good-bye. I am a good writer, but I know a play isn’t working until I feel a “click,” and frank-ly, I don’t enjoy writing it until then. I feel so blessed to have friends and colleagues who are always willing to help me find that click, that piece of the puzzle, or the look or word or anecdote that takes a play from words to entertainment. I left the bar, excited about sitting down to write again, so happy to be in this crazy business in which a night of work is sharing a drink (or four) with a friend. Erik stayed behind, ordered another round, and started his own writing project. Who knows what time he got home.
Dear: DiaryKat Sandler behind her own scenes
May 16, 2013. 12:45 AM
Time Event LocationAllDay LuminatoPortraits:AnArtFestivalHub on the Move Project10AM DollsbyViktor&RolfThorsellSpiritHouse11AM Stockpile AllenLambertGalleriaNoon LunchtimeIllumination:FestivalHub Nicholas Jennings, Murray McLauchlan&SylviaTysonNoon MAI—PrototypeTrinityBellwoodsPark 66PM EveningIllumination:VerdiTIFFBellLightbox vs.Wagner:ALoveStory?7PM ChamberMagicGeorgeBrownHouse7:30PM TheLifeandDeathBlumaAppelTheatre ofMarinaAbramovic8PM TheCoreyHarrisBand,FestivalHub CarolinaChocolateDrops9:30PM ChamberMagicGeorgeBrownHouse 179:30PM TheDaisyTheatreBerkeleyStreetTheatre 911:30PM TheCourtyardRevueBerkeleyStreetTheatre 10
It’s
hard
to k
now
wha
t to
call
Eric
San
, aka
Kid
Koa
la—
the
Can
adia
n sc
ratc
h D
J, m
usic
pro
duce
r, an
d co
mic
bo
ok a
rtis
t—bu
t re
nais
sanc
e m
an m
ight
be
clos
e. I
w
as a
t the
sec
ond
of th
e K
id’s
two
sold
-out
Spa
ce C
a-de
t sho
ws l
ast n
ight
, and
I ex
perie
nced
som
ethi
ng th
at
mig
ht b
e lik
e w
hat t
he fi
rst t
hera
min
aud
ienc
es o
r the
fir
st v
iew
ers o
f the
Impr
essi
onis
ts m
ight
hav
e fe
lt: a
we,
di
spla
cem
ent,
and
deep
ple
asur
e. (O
kay,
may
be n
ot th
e th
eram
in a
udie
nce.
)
“Th
e ne
w”
is a
n id
ea s
o ov
erw
orke
d an
d ja
ded
in
the
top-
spee
d In
tern
et a
ge th
at p
eopl
e ca
n be
forg
iven
fo
r rea
lly b
elie
ving
ther
e is
not
hing
new
und
er th
e su
n,
but a
t lea
st th
ere
was
som
ethi
ng n
ew u
nder
a m
irror
ball
last
nig
ht in
the
Hub
, as
abou
t five
hun
dred
peo
ple
lay
dow
n ag
ains
t spa
ceag
e in
flata
ble
pillo
ws
and
stra
pped
on
Sen
nhei
ser h
eadp
hone
s to
be le
ad d
own
Kid
Koa
la’s
very
spec
ial g
arde
n pa
th. T
he co
ncer
t beg
an w
ith a
new
tu
ne, f
eatu
ring
Dan
the
Auto
mat
or a
nd D
amon
Alb
arn,
w
hich
set
the
stag
e fo
r alm
ost t
wo
hour
s of
min
d-bo
g-gl
ing
crea
tivity
.
Th
e th
ree
over
size
d sc
reen
s ons
tage
dur
ing
the
first
nu
mbe
r di
spla
yed
the
asto
nish
ing
sigh
t of K
id K
oala
’s fo
rear
ms
and
hand
s fly
ing
over
thre
e tu
rnta
bles
and
a
mix
ing
boar
d. T
he s
peed
, dex
terit
y, a
nd s
heer
inve
n-tiv
enes
s of h
is m
ixin
g an
d sc
ratc
hing
was
inst
ant p
roof
th
at th
is k
ind
of m
usic
is n
ot th
e lo
ve-c
hild
of t
echn
ol-
ogy
and
extr
eme
spor
t, bu
t an
artf
orm
in a
nd o
f its
elf.
Lilli
an C
han
prov
ided
del
icat
e an
imat
ions
fro
m t
he
Spac
e C
adet
gra
phic
nov
el, w
hich
pla
yed
behi
nd t
he
com
plic
ated
set-
up a
s vis
ual l
ulla
bies
.
Today @ Luminato Festival
Adrienne Clarkson on The Life and Death of Marina Abramovic
Don Gillmor and Farzana Doctor try to shake each other awake
A review of Space Cadet
The fourth installment of Spovator Flencendar
The Millionaire’s Magician, Steve Cohen, is interrogated
Lisa Moore on her preparations for a reading
… and much more
In This Issue
On the QTLaurie Anderson whispered into my ear that apparently Ai Weiwei had sleepless nights about his first-ever live streaming rap perfor-mance with New York’s queen of the avant garde. Well, I don’t necessarily have sleepless nights, but sleep deprived ones, certainly, so I know how you must be feeling buddy, but you did a great job. It was a pity that we could not send him a virtual oyster or those lobster sticks from the Shore Club afterparty last night which was packed and buzzing. One of Ronnie Burkett’s marionettes ap-parently hit puberty last night at The Daisy Theatre at Berkeley Street and was partic-ularly mean and nasty to all the adults on scene. Afterwards, Vag Halen were rocking out so hard at Jason Collett’s Courtyard Re-vue at 11.30 p.m. (at the same venue) that one might think puberty should be an eternal hu-man condition. Joni Mitchell in her TimesTalks with Bri-an Blade and Jon Pareles proved that artistic minds can stay young eternally. Tonight’s the last night of The Life and Death of Mari-na Abramovic and even though the dogs and the albino python snake have become close, I know that Marina is quite jealous that the one albino doberman was actually allowed to go to the hairdresser to get a his fur dyed black and might be plotting something. — Jorn Weisbrodt, Artistic Director
From Jorn Weisbrodt
Revi
ew
Ove
r the
cour
se o
f the
conc
ert,
Kid
Koa
la d
rew
mem
-be
rs o
f th
e au
dien
ce, i
nclu
ding
chi
ldre
n, in
to t
he im
-pr
ovis
atio
nal c
reat
ion
of li
ve m
usic
. Gue
sts b
roug
ht d
i-re
ctly
ons
tage
yak
ked
with
the
artis
t bet
wee
n nu
mbe
rs,
and
in o
ne c
ase
wer
e gi
ven
light
-stic
ks a
nd o
ther
illu
-m
inat
ed o
bjec
ts to
cre
ate
a liv
e co
mpu
ter-
assi
sted
ligh
t sh
ow th
at w
as th
row
n in
stan
tane
ousl
y ov
er th
e sc
reen
s.
In w
hat w
as p
erha
ps th
e ev
enin
g’s
mos
t bea
utifu
l and
m
ovin
g m
omen
t Kid
Koa
la p
laye
d w
hat h
e to
ld u
s w
as
his
mot
her’s
favo
urite
pie
ce o
f his
. It t
urne
d ou
t to
be
a co
smic
rend
erin
g of
“M
oon
Riv
er”
play
ed o
ff an
old
LP
and
mix
ed d
irect
ly th
roug
h hi
s mas
sive
boa
rd. O
ver
seve
n m
inut
es, K
oala
tran
sfor
med
the
clas
sic
song
into
to
ne p
oem
that
surg
ed w
ith lo
ngin
g an
d lo
ve. I
imag
ine
Mot
her K
oala
is v
ery
prou
d of
her
son.
Del
ight
is p
roba
-bl
y th
e be
tter w
ord
to d
escr
ibe
the
audi
ence
’s re
actio
n.
We
rose
to o
ur fe
et a
t exa
ctly
1 a
.m. w
hen
the
conc
ert
ende
d—to
the s
ound
s of e
lect
roni
c bel
ls—
and
pulle
d off
ou
r hea
dpho
nes t
o se
nd K
id K
oala
and
his
bril
liant
crew
off
to th
unde
rous
app
laus
e. T
hat w
as th
e fir
st a
udib
le
evid
ence
that
any
one
had
been
in th
e H
ub to
that
hou
r, un
derg
oing
a tr
ansf
orm
ativ
e m
usic
al a
nd v
isua
l exp
e-rie
nce.
Sp
ac
e C
ad
et
vie
we
d f
rom
th
e t
op
of
214
Kin
g S
t W
es
t, 1
2:4
0A
M /
J16
/ 2
013
SCEN
E &
HER
D
THE TWEETS OF EMILY DICKENSON | “Why do I love” You, Art? Because—The Wind does not require the Mirrorglass to answer—Wherefore when He pass too fierce, it cannot rise over the Hub.
PRESENTED BYTHE LUMINATO FESTIVAL
Da
ve
La
pp
A JOKE | Know how to prevent sagging? Just eat till the wrinkles fill out. —Robert Wilson
—Jo
na
tha
n C
as
tilli
no
Squa
re O
neB
y A
nia
Sza
do
“I h
aven
’t ev
en b
roug
ht a
boo
k.”
The
open
ing
sent
ence
of
Stu
dio
Sain
t-Ex
cam
e la
te, b
ut f
elt
imm
edia
tely
rig
ht. S
ome-
one
bem
oani
ng t
he la
ck o
f a
book
typ
ical
ly,
unex
pect
edly
, has
tim
e to
kill
, as d
oes t
his n
ar-
rato
r. A
nd th
at w
ord
“eve
n”? S
he’s
exas
pera
ted
with
her
self;
she
’s ca
pabl
e of
bei
ng s
elf-
criti
-ca
l—im
port
ant f
or re
ader
s to
know
, sin
ce sh
e’s
pois
ed t
o te
ll a
stor
y ab
out
her
youn
ger
self.
Th
e sp
ine
of th
at s
tory
invo
lves
the
writ
ing
of
The
Littl
e Pr
ince
, so
star
ting
with
a n
od to
the
impo
rtan
ce o
f boo
ks fe
lt ap
t—an
d iro
nic,
sinc
e sh
e al
way
s car
ries t
hat b
ook,
as a
mem
ory.
To b
e c
on
tin
ue
d..
.
Spee
d In
terv
iew
Bef
ore
& A
fter
Ing
er
As
h W
olf
e g
oe
s t
o s
cra
tch
he
av
en
a
t S
pa
ce
Ca
de
t
FACES OF LUM
INATO
MIT
ICHELLJONI
Reve
rse
Prou
stQ
uest
ionn
aire
1 | B
lack
pum
ps. W
hat a
re s
exy,
rel
iabl
e, a
nd
alw
ays r
eady
to b
e w
alke
d al
l ove
r?2
| Qua
ntum
phy
sics
. Wha
t is
Step
hen
Haw
k-in
g’s i
dea
of li
ght r
eadi
ng?
3 | R
oot c
anal
. Wha
t is
prob
ably
the
last
thin
g th
at s
houl
d ev
er b
e at
tem
pted
as
a D
IY p
roj-
ect?
4 | C
avia
r in
Cle
vela
nd. W
hat i
s the
wor
st p
rom
th
eme
sugg
estio
n ev
er?
5 | M
y ce
llpho
ne. W
hat i
s one
of t
he fe
w th
ings
in
my
life
curr
ently
on
a pl
an?
6 | A
s of
ten
as p
ossi
ble.
Wha
t is
the
amou
nt
of ti
mes
Sei
nfel
d is
quo
ted
daily
in m
y ho
use-
hold
?7
| My
gran
dmot
her’s
(Nan
a’s)
coo
king
. Wha
t ki
nd o
f cui
sine
con
sist
s, in
its e
ntire
ty, o
f pie
r-og
is, a
dis
h kn
own
fam
iliar
ly (
and
ques
tion-
ably
) as “
polis
h bu
rger
s” an
d to
aste
d ry
e bre
ad
dous
ed h
eavy
-han
dedl
y in
gar
lic p
owde
r?
8 | T
urki
sh c
offee
. Wha
t is
the
last
thin
g yo
u fa
ntas
ized
abo
ut?
9 | M
an’s
best
frie
nd. W
ho is
con
sist
ently
al-
low
ed to
slee
p in
my
bed
desp
ite th
eir t
ende
n-cy
to u
se m
y ca
rpet
as a
toile
t?10
| C
athe
rine
Zeta
Jone
s. W
ho is
the
sexi
est
cele
brity
offi
cial
ly d
iagn
osed
with
bip
olar
dis
-or
der?
11
| N
ever
in le
otar
ds. W
hat i
s one
way
a m
uti-
ny sh
ould
nev
er b
e at
tem
pted
?12
| R
icks
haw
s. W
hat
was
onc
e de
scrib
ed b
y N
ewm
an a
s ha
ving
“th
e ro
man
ce o
f the
han
-so
m c
ab w
ithou
t th
e gu
ilt o
r da
nder
of
the
equi
ne”?
13 | R
ob F
ord’
s fee
t. W
hat i
s the
onl
y pa
rt o
f the
To
ront
o M
ayor
with
any
type
of s
ole?
14 |
A d
ozen
boa
con
stric
tors
. Wha
t mak
es a
be
tter p
air o
f boo
ts th
an h
ouse
gues
ts?
15 |
Onl
y in
the
dark
. Whe
re is
the
only
pla
ce I
look
as g
ood
as I
feel
whe
n I’m
dan
cing
?16
| U
nscr
upul
ous.
Wha
t is
my
caffe
ine
con-
sum
ptio
n w
hen
I am
wor
king
tow
ards
a d
ead-
line?
17 | M
y ank
les.
Wha
t is s
omet
hing
that
I se
e ev-
ery
day
but r
arel
y ac
tual
ly th
ink
abou
t?
18 |
The
laun
drom
at. W
here
is th
e la
st p
lace
I lo
st a
pai
r of u
nder
wea
r?19
| O
bliv
ion.
Whe
re s
houl
d ev
eryo
ne v
isit,
on
ce in
a w
hile
? 20
| Sh
ark
atta
cks.
Wha
t are
less
pai
nful
than
m
ost w
ork
or sc
hool
inte
rvie
ws I
’ve
had
to d
o?
Lu
min
ato
In
tern
Ma
gg
ie T
his
tle
’s
rule
s o
f m
uti
ny
Ten
min
ute
s,
up
to
fif
ty q
ue
sti
on
s.
A s
ele
cti
on
fro
m S
tev
e C
oh
en
1 | W
hat i
s the
last
boo
k yo
u di
dn’t
finis
h?
Thin
king
Fas
t and
Slo
w2 |
Eas
tern
or W
este
rn p
hilo
soph
y? E
aste
rn.
I use
d to
live
in Ja
pan.
3 | W
ho w
ould
pla
y yo
u in
the
mov
ie o
f you
r life
? I’v
e be
en c
alle
d th
e lo
ve-c
hild
of W
oody
Alle
n an
d C
harli
e C
hapl
in.
4 | W
hat w
as th
e fir
st co
ncer
t you
atte
nded
? Bi
lly Jo
el5
| Wha
t w
as y
our
favo
urite
chi
ldho
od b
ook?
Th
e Ta
nnen
’s M
agic
Cat
alog
ue #
126
| Wha
t do
you
wea
r to
bed?
T-s
hirt
and
shor
ts7
| Sho
uld
you
have
eve
r bee
n ar
rest
ed fo
r an
ythi
ng? N
o, b
ecau
se I’
m a
n ea
gle
scou
t.8
| Wha
t wou
ld b
e yo
ur la
st m
eal?
Sus
hi p
latte
r in
the
Gin
za in
Tok
yo.
9 | O
n da
nce:
bal
lroom
, bal
let,
or m
oder
n?
Balle
t. I g
ot to
the
balle
t ofte
n.10
| You
r fav
orite
com
edia
n of
all
time?
Ro
bin
Will
iam
s11
| W
hat
was
you
r ni
ckna
me
in h
igh
scho
ol?
Stev
er12
| D
o yo
u do
any
par
ty tr
icks
? My
who
le li
fe is
fu
ll of
them
.13
| Wha
t his
toric
al fi
gure
wou
ld yo
u lik
e to
hav
e di
nner
with
? Joh
ann
Hof
zins
er14
| Wha
t’s yo
ur id
ea o
f a p
erfe
ct S
atur
day n
ight
? I p
erfo
rm e
very
Sat
urda
y ni
ght.
15 |
Whe
re w
ould
you
like
to g
o on
a s
hopp
ing
spre
e? P
aul S
tuar
t in
New
Yor
k C
ity.
16 |
If y
ou h
adn’
t bec
ome
a m
agic
ian,
wha
t do
you
thin
k yo
u’d
be r
ight
now
? A
phys
icis
t. O
n on
e si
de y
ou tr
y to
ben
d th
e la
ws o
f the
un
iver
se, o
n th
e ot
her y
ou tr
y to
dis
cove
r the
m.
17 | W
hat d
on’t
you
get a
t all?
Th
e te
enag
e m
ind
18 | C
offee
or t
ea? C
offee
19 |
Milk
cho
cola
te o
r da
rk?
Milk
cho
cola
te a
t m
idni
ght a
nd d
ark
choc
olat
e w
hen
I’m
thin
king
abo
ut m
y he
alth
.20
| In
one
wor
d: th
e m
eani
ng o
f life
is …
Wel
l, m
y so
n’s
answ
er—
he’s
13 y
ears
old
—is
ice
cr
eam
. My
answ
er is
crea
tivity
.
Lis
a M
oo
re b
om
bs
he
ll; w
rite
r s
urv
ive
s
rea
din
gs
na
rro
wly
Ever
yday
Her
oes
Befo
re:
I am
dea
f to
eve
ryth
ing
exce
pt t
he
soun
d of
my
own
bloo
d.
It so
unds
like
a p
illow
figh
t.
I
feel
a tu
rbo-
sink
ing
of e
very
thin
g I
am,
a si
nkin
g fr
om th
e to
p of
my
head
dow
n in
to
my
knee
soc
ks. S
ocks
with
bro
ken
elas
tics
so
they
yaw
n ar
ound
my
ankl
es li
ke w
hen
I was
in
gra
de fo
ur.
I am
afr
aid
I will
trip
on
the
way
to th
e m
i-cr
opho
ne (t
his h
appe
ned
once
, me
yelli
ng m
y he
ad o
ff an
d w
ind-
mill
ing
my
arm
s, n
early
fa
lling
all
the
way
off
the
stag
e).
I
rem
ind
mys
elf t
hat i
f one
thin
ks b
ack
to
the
time
of th
e di
nosa
urs,
and
then
in th
e ot
h-er
dire
ctio
n, to
war
d in
finity
, thi
s m
omen
t on
stag
e w
ill o
nly
be a
mill
isec
ond
in th
e hi
stor
y of
bei
ng.
Aft
er: O
h, it
is s
o go
od to
list
en to
the
oth
er
read
ers.
It i
s suc
h a
deep
, dee
p pl
easu
re to
sit
in t
he a
udie
nce
afte
r I’m
don
e an
d lis
ten
to
thei
r sto
ries.
Th
e o
ne
wh
o s
we
lls E
mb
er
Sm
ith
’s h
ea
rt
She
used
to
drag
her
mom
to
ever
y sh
ow w
e ha
d in
the
Chi
cago
are
a fr
om a
ge s
ix t
o ni
ne.
Gin
ger-
haire
d Ja
ney
intr
oduc
ed h
er m
om t
o in
depe
nden
t mus
ic a
nd m
ade
me
flow
ers
from
co
nstr
uctio
n pa
per
with
littl
e no
tes
writ
ten
on
the
insi
de o
f th
e pe
tals
. A
fter
one
sho
w,
she
proc
laim
ed h
er fu
ture
pro
fess
ion
as a
poe
t. Sh
e m
ade
my
hear
t sw
ell.
Kid
s ar
e so
muc
h m
ore
hero
ic th
an th
ey’ll
eve
r kno
w.
Ato
m E
go
ya
n in
co
nv
ers
ati
on
wit
h D
an
iel J
. W
ak
in