Fuck yea! Turn it up and piss people off!
Yoko Ono Plastic Ono Band, Featuring Iggy Pop - Waiting for the D Train (2010)
As I cannot read the language, I do not know what this song is or who Yoko is performing it with. A little help, anyone?
The Flaming Lips getting ready to perform as The Plastic Ono Band!!
Wow how have we not discussed this yet (well cause I was on a social media cleanse).
Wednesday was one of the coolest nights of my life. I went to a Tame Impala and Flaming Lips concert in Manhattan, which was mind blowing in itself. But I didn’t even realize that Ghost of a Saber Tooth Tiger (Sean Lennon’s band) was opening the show (and they were awesome). (And sometimes in the right light I could have sworn John was on that stage). And no one knew the Flaming Lips were gonna bring mother-fucking YOKO ONO out on stage to sing with them. Goddamn, what a beautiful night.
Yoko Ono Onstage During The Flaming Lips Set, October 2nd, 2013, Terminal 5, New York City
I’ve seen Yoko perform this track (Cheshire Cat Cry) twice live (London and in Berlin) now, and both times she sang the lyrics brilliantly. Last night, she was on the Late Show with Letterman and less than a minute in she clearly just decided ‘fuck it’ and screamed her way through most of the song. This was pure avant-rock/funk.
Twitter is furious. Youtube commenters want her dead. I don’t give a shit. This is fucking brilliant, and these morons who spend so much time hating her seem to have no idea that she actually has a beautiful singing voice, too.
Post reblogged from with 5 notes
Performance art intrigues me because of its ability to remove the barriers between the artist and the audience. There is something powerful in the act of watching art unfold in front of you in real time. There are some performers who even take their art a step further, by allowing the audience to change their role from passive viewers to active participants.
Marina Abramovic and Yoko Ono are two artists who have both been known to make their audience members an integral part of their performance. Keeping your audience engaged is something all performers strive for, but making your art dependent upon audience participation causes a paradigm shift of sorts.
Imagine that Cut Piece, instead of involving the audience, was just a performance where Yoko Ono slowly cut her own clothing off. Imagine that The Artist is Present was just Marina Abramovic staring off into space in a room full of people. In these scenarios, the artist is more of an usher walking you through the experience. The message being something akin to “here is my art, appreciate it.” The message that is conveyed by the actual works mentioned is instead more like “please help me turn this experience into art so we can appreciate it together.”
The other aspect of this type of performance that makes it so powerful is the amount of courage it requires from both parties. Cut Piece is a particularly good example of this. For the audience, they must be aware that the way they approach the request to cut off a piece of clothing, could potentially give everyone watching a glimpse into their true nature. As the artist, you must be acutely aware that you are giving the audience an opportunity to interact with you, and without many rules the interaction could be either positive or negative.
In my opinion, it is the level of interaction and the courage that this interaction takes, which makes performance art such as this so palpable and unforgettable. Though, other types of performance, such as a music concert or a Broadway show may be engaging, people who have only ever experienced performance as a passive viewer are missing an amazing opportunity to feel something new.
my friend Steve Kane got to meet Sean Lennon when seeing the Plastic Ono Band at The Bowery Ballroom in Que Pasa New York last week…..rad!
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