#jamtv

[mindofsmoothie]

Bizzy Bone has done it again with his latest release “The Mantra.” Don’t sleep on this 🔥🔥🔥💯 Great work Mr. McCane🍻 #bizzybone #bbgambini #lilripsta #themantra #newrelease #bonethugsnharmony #bonethugs #btnh #jamtv https://www.instagram.com/p/CFCtPisDd4V/?igshid=1xmuqzg93l4p3

[brunellaboschettiventuri]

🍃 PAROLARIO: una porta spazio-temporale spalancata sulla fantasia e sulle più vive e "sacre" emozioni! (6) • • Anteprima nazionale: «THE ROLLING STONES - ALTAMONT - Il giorno più nero della storia del rock». Dal libro di Joel Selvin (ed. Hoepli @hoepli_libreria_editore ), un nuovo spettacolo di racconti, suoni visioni a cura di Ezio Guaitamacchi @ezio.guaitamacchijamonline.it / @jamtvit . Con Brunella Boschetti Venturi @brunellabb, Paolo Bonfanti @paolo.bonfanti, Laura Fedele, l'action painting di Carlo Montana @carlettomontana , le proiezioni di Filippo Guaitamacchi @filippo_uata . • • #parolario2017 #parolario #altamont #therollingstones #storiadelrock #rockhistory #villaolmo #lagodicomo #lakecomo #ezioguaitamacchi #jamtv #joelselvin #sanfranciscochronicle #paolobonfanti #laurafedele #carlomontana #filippoguaitamacchi #brunellaboschettiventuri #brunellabb #bb #voices #acousticrock #guitars #piano #singer #soffitto #architecturelovers #lightsandshadows #spaziotempo #musicitsmylife (presso Parolario)

[rushingthenightlikeasharkbabe]

Ashes 💔

[johnbarrygroup]

Amazon Prime Video’s Making Their Mark Shot With @blackmagicnewsofficial Cameras “Making Their Mark,” the hit Amazon Prime Video series that gives viewers access into the Australian Football League’s top teams, was shot using Blackmagic URSA Mini Pro 4.6K G2 and Pocket Cinema Camera 6K digital cinema cameras by Melbourne’s JamTV. Color correction for the series was completed using DaVinci Resolve Studio. “Making Their Mark” is a seven part series that follows six teams in the Australian Football League, giving viewers a never before view into the league’s teams, players and coaches. Shot during the Covid impacted 2020 season, the series mixes game footage with footage from inside the clubhouses, executive rooms and the player’s personal lives. To get close to the action on the field and up close to the players and coaches, Melbourne’s JamTV Australia chose to use a number of URSA Mini Pro 4.6K G2 as the main cameras for the production. Pocket Cinema Camera 6K cameras were used for gimble and off speed shots. DP Matt Koopmans explained: “The reason we went for the Pocket Cinema Cameras and URSA Mini Pros was because we needed to shoot high speed and both these cameras had the ability to do that and were at a price point that worked for the production. For some of the games, we used up to a five Blackmagic camera set ups, with two on ISO, two in the team rooms and one shooting for color commentary.” Shooting over the entire 2020 season, Jam TV captured more than 2,500 hours and 650+ terabytes of footage, all shot in Blackmagic RAW 8:1, and used more than 20 camera operators across Australia. To capture all of the various types of shots in those 2,500 hours, they relied on the Blackmagic OS’s ability to let them easily switch between frame rates quickly and on the camera’s ease of use. https://www.instagram.com/p/CTDoVqCh-xn/?utm_medium=tumblr

[niconote]

"LADY DAY", tour di musica e testimonianze contro la violenza di genere

Lady Day una manifestazione di musica e testimonianze al femminile contro la violenza sulle donneLa manifestazione, vuole offrire l’opportunità di celebrare le donne in modointelligente e mirato grazie al coinvolgimento di Fondazione Famiglia Materna diRovereto e una o più Associazione Onlus del territorio, che si battono per la lotta alla violenza che ogni anno rende vittime migliaia di donne e bambine in tutto il mondo.

Le Serate, oltre al prestigioso contributo artistico e umano che offriranno le Artiste coinvolte, sarà l’occasione per un confronto e una riflessione su quanto ancora occorre fare riguardo la Violenza di genere. Lady Day vuole essere anche un punto di riflessione e d’incontro sulle condizioni attuali del mondo femminile. Da anni la nostra collaborazione con Enti e Associazioni dedite a curare e prevenire ogni violenza che inesorabilmente continuano a verificarsi in ambito familiare o per mano di persone care sta dando notevoli risultati anche per il coinvolgimento e la sensibilizzazione diretta del pubblico e della stampa.

Durante le serate, le esibizioni delle Artiste, verranno intervallate da letture di testimonianze di donne che hanno subito violenza, verbale o fisica.Le Artiste che stanno aderendo a “Lady Day sono accomunate dalla grande attenzione per i testi delle canzoni e sono apprezzate dalla stampa e da un nutrito e attento pubblico ovunque: Marina Rei, Veronica Marchi, NicoNote, Cecilia, Gigliola Cinquetti, Camilla Fascina Angela Kinczly, Carlot – ta, Lilith, Francesca Cheyenne (Dj Rtl), Sole, Isabella Caserta (Attrice), Valeria Benatti (Giornalista – Scrittrice – Dj Rtl), Massimilla di Serego Alighieri(responsabile Associazione “Donne del Vino”), Alteria (Dj Radio Capital), Claudia Is On The Sofa e molte altre che, via, via si stanno aggiungendo.Lady Day è un progetto Lilium Produzioni/La Mantide Edizioni MusicaliCollaborazione con Fondazione Famiglia Materna e Doc LiveMedia Partners : Jamtv e Spettakolo!

Organizzazione Lilium Produzioni Direzione Artistica e ideazione Enzo Onorato Coordinamento organizzativo e logistica Federica Zovadelli

[puneinnovationjam2019-blog]

JamTV - YouTube

This list shows our most original Jam moments, Jammers experiences or tools as videos produced and shared by jammers and hosts at #GSJam! To be listed here - JamTV

[boonesfarmsangria]

Robin interviewed for JamTV

[mindofsmoothie]

Look what arrived today? That new Bizzy Bone “Carbon Monoxide.” This album is 🔥🔥🔥 💯💯 It’s like @mrmccane knew today was my birthday and timed the shipping perfectly. #bizzybone #carbonmonoxide #banger #alphamalementality #ripsta #jammer #jamtv #bonethugs #bonethugsnharmony #legends #ogs #recognize #downsinceday https://www.instagram.com/p/B3IMan3FLFg/?igshid=1ts1crz4wxonj

[brunellaboschettiventuri]

🍃 PAROLARIO: una porta spazio-temporale spalancata sulla fantasia e sulle più vive e "sacre" emozioni! (3) • • Anteprima nazionale: «THE ROLLING STONES - ALTAMONT - Il giorno più nero della storia del rock». Dal libro di Joel Selvin (ed. Hoepli @hoepli_libreria_editore ), un nuovo spettacolo di racconti, suoni visioni a cura di Ezio Guaitamacchi @ezio.guaitamacchijamonline.it / @jamtvit . Con Brunella Boschetti Venturi @brunellabb, Paolo Bonfanti @paolo.bonfanti, Laura Fedele, l'action painting di Carlo Montana @carlettomontana , le proiezioni di Filippo Guaitamacchi @filippo_uata . • • #parolario2017 #parolario #altamont #therollingstones #storiadelrock #rockhistory #villaolmo #lagodicomo #lakecomo #ezioguaitamacchi #jamtv #joelselvin #sanfranciscochronicle #paolobonfanti #laurafedele #carlomontana #filippoguaitamacchi #brunellaboschettiventuri #brunellabb #bb #voices #acousticrock #guitars #piano #singer #soundcheck #backstage #lightsandshadows #spaziotempo #musicitsmylife (presso Parolario)

[ch2tw]

CH2TW.CLUB更新情報(2017/09/29-15:35)

CH2TW.CLUB - 2chまとめ 更新情報

★★★★★★★★★★

スレッド：【Ｔバック】Ｔバック水着・下着　総合　Part26

http://ch2tw.club/feti_1494075873 608 2017/09/29(金) 15:17:45 名無しさん＠ピンキー >>605 お前、「ワンピース水着」でも「お酢くさい」連発しとったのう。 自分で人の嫌がる事連発して自分がされたらブチ切れるなんて ほんまに語るに落ちるとはお前のことやのうｗ http://surls.xyz/oMQx9 ★★★★★★★★★★

スレッド：アラサー独身ババアって完全に自業自得だよな

http://ch2tw.club/sfe_1309330306 719 2017/09/29(金) 15:21:08 Miss名無しさん 【男性専】女嫌いな男性が増えている22【用スレ】 https://mevius.2ch.net/test/read.cgi/gender/1491039360/l50 結婚したがらない男性が増えているPart705 https://mevius.2ch.net/test/read.cgi/gender/1505906658/l50 http://surls.xyz/Hv4X5 ★★★★★★★★★★

スレッド：【麺】バンドマンと繋がりがある女Nana人目【ギャ】

http://ch2tw.club/minor_1504915681 751 2017/09/29(金) 15:23:25 無名さん あつよさんて何歳？ http://surls.xyz/kEAya ★★★★★★★★★★

スレッド：薄���いﾊﾟﾝｽﾄを履いた美人OL16脚目【目一杯抜いて!】

http://ch2tw.club/feti_1496637078 550 2017/09/29(金) 15:09:23 名無しさん＠ピンキー (ﾆｸｸｴW 1fcf-3Hda) たまには尻じゃなくて正面からの股間がみたくなるな。 女は正面は見せたくないのかな http://surls.xyz/Nt7Cs ★★★★★★★★★★

スレッド：【丸み】尻画像 part78【光沢】

http://ch2tw.club/ascii_1502228860 608 2017/09/29(金) 15:28:02 /名無しさん[1-30].jpg ［マジックミラー号］バレーボールで鍛えた美尻をマッサージされ発情する部活女子！！ http://eropunyu.com/x/63539 http://surls.xyz/JAMTv ★★★★★★★★★★ CH2TWクラブ - 2chまとめサービス - ch2tw.club http://ch2tw.club/

[lcdamontfort]

La Commedia dell'Arte

"La Commedia dell'Arte" Une exposition d'art numérique à la galerie L'Atelier Montfort L'Amaury, France. La galerie L'Atelier Montfort L'Amaury acceuillera du 26 mai au 4 Juin « La Commedia dell'Arte », une exposition des œuvres des photographes Clarisse Debout et Andrea Bigiarini. L'exposition présente un ensemble d'œuvres des deux artistes connus dans le monde de la Photomobile et les performances des arts numériques qui représentent leur vision de la combinaison de la photographie et la peinture qui se fondent harmonieusement.Le vrai Commedia dell'Arte est la nature que les deux artistes ont été en mesure de percevoir et de se déplacer dans leur emploi, plus oniriques, plus éloignés d'une réalité standard où le temps et l'espace cèdent la place au spectacle triomphant de la nature. « L'art est un parallèle à la nature de l'harmonie » (Paul Cézanne) Les œuvres de Clarisse Debout représentent une harmonie parfaite avec la simplicité majestueuse de la nature, un monde de rêve, délicat et parfait, où vit l'artiste. Un monde parfait où toutes les composantes de ce microcosme, des immenses forêts au plus petit des insectes, sont toujours au centre des travaux de la sensibilité de l'artiste française. Le travail du photographe paysagiste italien Andrea Bigiarini est une réinterprétation numérique des œuvres de peintres impressionnistes américains et français. Un hybride parfait entre la peinture et la photographie. Les paysages de l'exposition racontent les mystères du jardin Boboli (Florence), le jardin privé alchimique Torrigiani (Florence), la campagne de Montfort, qui lui tient à coeur, et le jardin de Versailles. CLARISSE DEBOUT Clarisse Debout baigne dans la culture depuis son tout jeune âge et nourrit une véritable passion pour la photographie. Entre poésie et technologie, Clarisse Debout est une artiste de photographie mobile, devenue aujourd’hui une référence dans le domaine de l’art digital. Guidée par ses émotions et sa sensibilité, l’artiste capte, à travers son smartphone, des instants uniques et totalement spontanés qu’elle retravaille via des applications, jouant sur la lumière, les contrastes, le relief et le flou, à la manière d’un peintre impressionniste. Ses sujets d’inspiration sont multiples « Je photographie ce qui me touche, selon mon instinct, mon intuition. Je n’ai pas une approche technique » explique-t-elle. Clarisse Debout expose pour la première fois en janvier 2013 à la galerie Hors Champs à Paris, puis en juin 2014 à Montfort l’Amaury pour Art2fact. S’en suivra une troisième exposition pour Madart à l’Espace Pierre Cardin, en novembre 2014. Ses clichés sont régulièrement sélectionnés par les sites référents d’images mobiles, et, en avril 2015, Photo Magazine choisit une de ses photos pour illustrer un article sur les tendances de la photo artistique mobile. En même temps, elle expose pour BMW et à Bruxelles avec le collectif BIAM. En juin 2015, elle expose à la galerie Oberkampf à Paris, puis à Bordeaux en septembre de la même année. Enfin, ce sera Rome en mars 2016. La photographie mobile connait aujourd’hui un formidable essor et est reconnue comme un véritable art. Ce processus de création novateur se développe au travers de nombreux collectifs et réseaux sociaux à travers le monde et de nouveaux talents numériques voient le jour. La photographie mobile, esthétique et économique, est en pleine émergence et laisse croire à une possible révolution numérique de l’art. Dans cette perspective, le travail de Clarisse Debout est intégré à la curation du colloque international organisé par le Sorbonne et l’Institut National de l’Histoire de l’Art en décembre 2014, sur le thème « Téléphone mobile et création ». Repères biographiques Après plusieurs années passées dans la production de spectacles, la photographie s’impose à Clarisse comme une évidence à partir des années 2000. Elle collabore alors pour MUM Magazine et BALTHAZAR avant de se lancer dans une première exposition, en janvier 2013, à la Galerie Hors Champs à Paris. Clarisse Debout est signataire du Manifeste des Arts Mobiles. ANDREA BIGIARINI Andrea Bigiarini est un artiste numérique italien. il vit à Florence, en Italie, où il est né en 1956. Fasciné par la photographie et la peinture depuis l'enfance, il a commencé en 1978 à travailler professionnellement dans le monde traditionnel de l'art visuel. En 1984, il comprend que les ordinateurs sont la nouvelle frontière de la créativité. Programme et fabrique divers jeux vidéo, mais sa quête a toujours été de combiner l'art traditionnel avec le numérique pour créer de nouveaux hybrides. En 2007, il a acheté son premier iPhone et comprend le potentiel de ce nouveau média. Après avoir passé cinq ans dans la photo des groupes mobiles sur les réseaux sociaux en 2012, il a fondé le Musée New Era (NEM) afin de recueillir les œuvres les plus visionnaires de iphoneografia et les esibirle. Il a conçu et réalisé des événements artistiques qui ont révolutionné la façon d'exposer les œuvres photographiques de NEM Afficher à Kansas City pour passer à International Florence Photography Award, Phénomènes inattendue Auditorium à Rome jusqu'à ce que vous arrivez à l'Equinox Découvrez la fusion parfaite de l'art musique numérique et en direct. Il a été membre du jury international pour divers événements internationaux de photographie et ses œuvres ont été présentées dans de nombreuses expositions dans le monde ainsi que dans des spectacles musicaux. Pour plus d'informations: - http://andreabigiarini.com - http://neweramuseum.org Quelques interviews: - L'ART DE MOB: http://artofmob.blogspot.fr/2014/11/andrea-bigiarini-renaissance-man.html (http://artofmob.blogspot.fr/2014/11/andrea-bigiarini-renaissance- man.html) - MOBIOGRAPHY: http://www.mobiography.net/inspiration/24-photographers-2015-andrea-bigiarini/ (http://www.mobiography.net/inspiration/24-photographers-2015-andrea-bigiarini/)- APPWHISPERER LA: http://theappwhisperer.com/2016/01/brought-light-mobile- photography-art-interview-andrea-bigiarini/ (http://theappwhisperer.com/2016/01/brought-light-mobile -Photographie-art-entretien-andrea-bigiarini /) - JAMTV: http://neweramuseum.org/words/2016/5/10/ihuh-marco-testoni-e-andrea-bigiarini-interview-for-jam-tv (http://neweramuseum.org/words/2016 / 5/10 / ihuh-marco-grand-et-andrea-bigiarini-interview pour-jam-tV) Andrea et Clarisse apportent au portail d'une subtile terre nostalgique, mélancolique et rêveuse et inspirez à entrer dans cet univers. - Mark Daniels, Photographe - Etats-Unis. Andrea & Clarisse sont une force inévitable. Individuellement, ils ont travaillé pendant des années pour repousser les limites et le sens visuel de la beauté et de la vérité. Ensemble, ils transcendent la réalité et créent un univers de créativité pure. - Lisa Peters, Photographe - Etats-Unis Au cours des années, Andrea et Clarisse ont réussi à obtenir leur travail à un autre niveau. Non seulement ils prennent d'excellentes photographies, mais leur «art» amène le spectateur dans un autre monde et à l'heure. Toujours un plaisir de voir et de se perdre dans leurs créations. - Armineh Hovanesian, Photographe - Etats-Unis Ce couple collaboratif d'artiste adopte l'iPhonographie au prochain niveau. Ils tournent le monde autour de nous dans un art alors qu'ils transforment votre âme dans la chanson. - Jane Schultz, photographe - USA. Le travail de Clarisse est magnifique. Andrea's suck! - Roger Guetta, artiste et interprète - Canada.

[crazyforcococookies]

Bringing this back, since I think all of us can do with some jam after the Tayvin discussion on here earlier.  Yes, this is the guy who thinks it’s funny to have a show based on opening jars of jam, instead of featuring jams of the musical kind. 

[leee787]

VInsint - Birds Hill by LordJedd Ylagan http://ift.tt/1q98QdS

[sweetdreamsjeff]

JAMtv Jacked!, July 1998

By Deb DeSalvo It's been barely a year since Buckley waded into the Mississippi for a sunset swim and was sucked under, his body surfacing in Memphis Harbor six days later on June 4. His friends are still suffering, some too much to speak. Buckley's long-time friend, Rebecca Moore, gracefully declined to be interviewed, saying, "When I find the words, I'll be glad to talk, but I just haven't found them yet." A year is a blink in mourning time. Buckley moved in with Moore when he left L.A. for New York in 1991. Gary Lucas, the innovative guitarist most widely known for playing with Captain Beefheart, had convinced him that New York was "a more conducive place." And it was. In the early '90s, New York's downtown music scene thrived on the way crusty punks and dreamy-eyed folkies, poets and jazz musicians rubbed up against each other on the streets of the East Village, cross-pollinating like horny buzzing bees. Only in New York is there a tradition of the best bands being led by poets—like Patti Smith or Jim Carroll or Soul Coughing's M. Doughty or Drunken Boat's Todd Colby. Only in New York do rock singers grovel to read from their notebooks on Monday nights at the Poetry Project at St. Mark's Church on 2nd Avenue. Only in New York are you a nobody if you aren't given five minutes to sing, read, or honk your saxophone at the New Year's Day Marathon at said church. Where Patti Smith first performed after losing her husband and brother. Because her tribe was there. The tribe was knocked out by Jeff Buckley. In a town crawling with brilliant musicians he was a phenomenon. "I saw Jeff perform at the Tim Buckley tribute at St. Ann's Church in Brooklyn," says avant-garde composer and guitarist Elliott Sharp, "and all I can say is that I was struck by the beauty and power of his voice—certainly a ghostly reminder of his father." Producer Hal Wilner had asked Lucas, who was a huge Tim Buckley fan, if he would collaborate with Jeff on "The King's Chain" for the tribute. "He looked uncannily like Tim," Lucas recalls. "He was standing there vibing, electricity shooting out of his brain, rolling his eyes. I was immediately attracted to him, like, What the fuck is this guy trying to do? Every other musician was standing around trying to be ultra cool, like 'I'm in my downtown musician bag and I might as well be wearing shades'. "He said 'You're Gary Lucas?' I read all about you in Guitar Player,' so I was very flattered. He came back to my house and I spread out my electronics. I created a loop with some Eastern-sounding singing and he started to sing through that amp over there, and I was just sent. I said, 'You're a fucking star!' and he said, 'Really? Everybody in L.A. hates me and they all say if anybody likes me it's because of my dad.' "So I said 'Move here and shake that off; this is a more conducive place.' I took him to the White Horse Tavern and we really bonded. I decided to revamp Gods and Monsters with Jeff as my singer. Then we did the show at St. Ann's, and he just destroyed everybody. I said to myself, I've encountered a miraculous talent and he's a sweet kid and I'm gonna do my best to make this work." Buckley returned to LA and Lucas went on tour with James Blood Ulmer. Meanwhile Lucas wrote the music to songs Buckley would re-name "Grace" and "Mojo Pin." Buckley returned to New York in August to record with the band. According to Lucas, Buckley, "bluffed his way through the songs in rehearsal. But when he came to sing his tracks he had every note worked out in such a cool way." Lucas credits Buckley's mother with helping develop his astounding musicality. "Everybody says Tim Buckley was the major influence on Jeff and, in fact, he knew his father's catalog backwards and forwards and could sing any of the songs just like his dad if he wanted. But his mother, Mary Guibert, encouraged him and instilled a love of music, whereas he had a lot of negative feelings regarding his father and the whole abandonment issue. She has an amazing voice. I heard her sing "Amazing Grace" at a memorial service for him and it gave me shivers. That's where he got so much." Lucas went on tour with Nick Cave and brought a cassette with him, "but I was so awestruck by Jeff's talent that I didn't play it for anybody." Shortly thereafter, he and Jeff performed in Lucas's apartment for some Imago execs who agreed to pay for Jeff to move to New York and to finance a showcase for him at St. Ann's. Buckley was still unsure of his abilities, however. At his first show with Gods and Monsters, at the old Knitting Factory in October of '91, he was mesmerizing but painfully shy. "We did a duet of 'Bluebird Blues,'" Lucas recalls. "It was semi-improvised country blues and he sang his ass off. Then we brought the band on and did a few songs. There were a lot of musicians there, like John Cale and Nick Cave. It was overwhelmingly great but Jeff was insecure because Nick and Cale didn't stick to the end. He was very rattled. I had to spend a long time convincing him that it was so strong that they probably didn't know what to say." Despite Buckley's misgivings, the concert at St. Ann's "went fucking great," according to Lucas, who has a tape he says will come out "sometime, with his mother's blessing." But the next day Buckley informed Lucas that he was leaving Gods and Monsters to pursue a solo career. "I felt destroyed," says Lucas, "I didn't talk to him for a long time. Things were rough between us for awhile." Two years later, though, Buckley turned to Lucas for songs and guitar playing on Grace. "I play space guitar and open the record with guitar and I doubled some guitar parts. He had a wonderful tour and I was really bitter. But when I saw him play I thought, 'Hey, maybe it wasn't so bad,' because he had this thing about having the band stand far behind him. We had quarreled about this at St. Ann's, in fact. He said "Keith always stands behind Mick," Lucas remembers, chuckling. Lucas and Buckley last performed together at the Knitting Factory's 10th anniversary show Feb. 4, 1997. "We did 'Grace,' and everybody was like 'Yeah, we've been waiting five years to hear this.' It was ecstasy and telepathy all over again. I was waiting to get a call to maybe go to Memphis to do something on the new record, and then . . . ." Overcome, Lucas gets up to find some Kleenex. He returns to his chair and eases into it, sighing "He was the best singer I ever worked with." Considering that Lucas has played with Patti Smith, Joan Osborne and many other great singers, that's high praise. "It was very clear that this guy had magic," agrees Knitting Factory owner Michael Dorf. "As a person, he was shy but very sweet. When Rebecca Moore was recording Admiral Charcoal for our label in '96, he was involved in every session but wouldn't take a credit. I'll always remember him saying, 'Don't screw Rebecca!' Not sexually, but business-wise. He was showing this real care about her—protecting her." Poet Wanda Phipps was friends with Moore, who introduced her to Buckley: "I didn't notice him at all, but then I saw him perform at Sin-é Cafe (Sketches includes a photo of Buckley playing Sin-é's upright piano). When he sang he was gorgeous. It was like some channeling of the divine. "I was running Monday night readings at the Poetry Project and I went to Sin-é after the readings every week. My friends thought I was crazy because I kept going back, but it was never the same. He didn't want to perfect a song in a certain form; he kept improvising—finding what else was there. Often people didn't pay much attention to the performers at Sin-é, because it was free, but once Jeff would start to sing a huge hush would descend and everybody'd be totally rapt." According to Phipps, Buckley performed some covers at Sin-é, including "I Am Calling You," from the movie Baghdad Café, "Strange Fruit" ("He sang it once and it was almost too painful for me to listen."), and "Lilac Wine," as well as songs that ended up on his albums, like "Hallelujah" by Leonard Cohen. At Moore's birthday party, Phipps and Buckley "had a long talk about life and work; about crying in the night in despair and how we were both Scorpios. After that there was a kind of bond, even though I'd just run into him on the street and he would kiss my hand. He noticed details other people wouldn't notice; like if I'd changed my hair, he'd touch it and ask what I'd done to it. He had this way of focusing in that made you feel like the most valuable human being on the planet." After he became famous, Buckley played unannounced gigs under aliases like the Crackrobats, Possessed by Elves, Crit Club, and Topless America. When Phipps booked him with Homer Erotic and Maggie Estep at Mercury Lounge, Buckley asked her to bill him only as "special guest. He said he didn't want the suits to come down and make it all weird, he wanted it to be just us. But it was packed anyway." Once Phipps went to see him at Sin-é and "there was a huge swarm of people crowding around him. I was about to leave but he grabbed my arm and held onto it really tightly so I couldn't move. Just to make sure that after all the rabid fans disappeared I could say whatever it was I'd wanted to say to him. He was really considerate and thoughtful that way. He had a nurturing way that made you feel full and joyous long after you'd parted." Phipps dabs at her eyes and is silent for a few minutes. Have any of Buckley's albums captured what he could do live? Phipps pauses before answering: "No, although Live From Sin-é did it best. Listening to Sketches I realized that even though it seemed when you saw him live that you were eavesdropping on him in private, there was actually an intensity that's missing on Sketches because he wasn't performing for anyone but himself." Phipps didn't speculate on Buckley's mental state before his death, as she hadn't talked to him in awhile, but Dorf says, "He was really excited and happy to be working on a new record, and was in a hyper state of challenging himself. And took that too far, perhaps. We don't really know what happened. Rebecca got a phone call from him within six hours of his drowning that was kind of predictive. It's horrible to have known him and have him die—like he did. I played 'Grace' over and over again. In a weird way, many of his lyrics indicate a kind of 'follow the father' premonition. It's a poetic story, really, though a very sad one." "I hope people will just remember what a brilliant artist and wonderful person he was," Phipps says quietly. "Once when Jeff was playing at Sin-é he saw the tree man outside—the guy who used to walk around the East Village with a bag of leaves on his head and tree limbs tied to his arms. Jeff asked him to come in. He said he was a singer, too, so Jeff asked him to sing a song and played the guitar for him. It was really sweet."