Big Art Group, The People. Photo: Caden Manson.

September marks the exciting tenth anniversary of Portland Institute for Contemporary Art’s Time-Based Art Festival, and the first curated by Artistic Director Angela Mattox. Happening September 6–16, 2012, TBA is a convergence of contemporary performance and visual art in Portland, Oregon. The Festival presents dozens of emerging talents and legacy artists from around the world, and particularly champions those individuals who challenge traditional forms and work across mediums. TBA activates the city landscape with projects that bring artists and audiences into close proximity. Itinerant programs fill warehouses, theaters, and city streets with exhibits and performances, while a full schedule of workshops, talks, and late-night socializing offers outlets for the crowds to cross and mingle.

“As a curator, I love when mediums and styles collide,” says Mattox, “and the projects in this year’s Festival are firmly interdisciplinary, often moving between theater, video, movement, and music in a single piece. It is a reflection of current artist practices and of our own desire to have audiences move fluidly between these experiences.” But it is not just the profusion of forms that makes TBA such a uniquely contemporary platform; the Festival also focuses on presenting work that directly addresses the complexity of our current moment. TBA reflects on what it means to be human in today’s times, while also celebrating the creativity and imagination with which artists respond to our circumstances.

The performances this fall reflect both epic themes of democracy, community, and freedom of speech, as well as deeply personal issues around identity, home, and exile. Among the many ideas carried between works in the Festival, there is a strong through-line that looks at art as a mode for social and political activism. Keith Hennessy, Lagartijas Tiradas al Sol, and Laurie Anderson all present bold new projects that are informed by historical legacy and significant contemporary events. Mattox affirms that, “Art has an important role in advancing culture and reflecting our aspirations for society; TBA supports those artists making an impact in their communities with their work.”

“Given that TBA:12 is our tenth anniversary, I thought deeply about which artists PICA should present,” Mattox remarks. “I wanted to support a few alumni artists, whose work continues to challenge and inspire new audiences, but I also wanted to make sure to introduce new practitioners to Portland and build audiences for a new generation of artists.” PICA is committed to supporting artists over the arc of their professional trajectories by inviting audiences to deeply engage with their work and follow their careers as they develop. To that end, TBA welcomes back legacy artists including Laurie Anderson, Faustin Linyekula, Gob Squad, and Miguel Gutierrez, while presenting the first local engagements by Big Art Group, chelftisch, Lagartijas Tiradas al Sol, and Nora Chipaumire.

Nora Chipamuire, MIRIAM. Photo: Anotine Tempe.

Between these and other artists, the projects in this year’s Festival hail from Mexico, Japan, Croatia and Serbia, the Democratic Republic of the Congo, Germany, Zimbabwe, and across the US. “TBA is a unique platform for a diversity of practices and perspectives to thrive,” explains Mattox, “and I want to place Portland in a larger international cultural conversation.” These projects all introduce our local community to the richness of work being created around the globe, while also speaking to local concerns and realities. According to Mattox: “We like to say that TBA is a globally minded festival that is firmly grounded in Portland—the artists may live around the world, but their projects are only realized through the participation of Portland’s artists and audiences.”

Embodying this approach, TBA:12 features several projects that directly connect with locals in the very process of their creation. Big Art Group’s The People—Portland and Keith Hennessy’s Turbulence (a dance about the economy) will both be developed through residencies here in town this spring, and Ant Hampton & Tim Etchell’s The Quiet Volume—a site-specific performance in a public library—is only realized through the direct involvement of its two-person audience. These artists have thoughtfully re-considered the relationships between their art and its audiences; their works are emblematic of TBA as a Festival that reframes our daily experiences through the lens of today’s boldest artistic talents.

THE PROJECTS

BIG ART GROUP, THE PEOPLE—PORTLAND
THEATER/VIDEO, US
With their unmistakable brand of transgressive internet-age aesthetics, Big Art Group broaches themes of democracy, justice, and community in an outdoor spectacle of theater and large-scale video projection. Blending real-time film, live actors, and a video “chorus” of interviews with a cross-section of Portlanders, The People—Portland forms a census of the city at this moment and pushes the formal boundaries of theater and film.

ANT HAMPTON & TIM ETCHELLS, THE QUIET VOLUME
THEATER, UK [US PREMIER]
A self-generated ‘automatic’ performance for two at a time, exploring the strange magic at the heart of reading. Taking cues from words both written and whispered through headphones, the two audience members/participants follow an unlikely path through a pile of books, as outlined by “autoteatro” pioneer Ant Hampton, and artist/writer Tim Etchells.

Lagartijas Tiradas al Sol, Asalto al Agua Transparente. Photo: Juan Leduc.

LAGARTIJAS TIRADAS AL SOL, EL RUMOR DEL INCENDIO &
ASALTO AL AGUA TRANSPARENTE
THEATER, MEXICO [US PREMIER]
The young Mexican theater collective presents two politically-charged performances at TBA, blending documentary and drama. In El Rumor del Incendio, the company explores the history of their radical revolutionary forebears in 60s Mexico, reigniting the social critiques of an earlier generation. Asalto al Agua Transparente goes back even further in history, exploring the stark water issues of Lake Texcoco from the Aztec founding of Tenochitlan to the modern day Meixco-city.

MIGUEL GUTIERREZ, HEAVENS WHAT HAVE I DONE
DANCE, US
One of the most provocative choreographers of the New York scene, Gutierrez weaves a rambling and comic monologue that unspools into a bold and ferocious dance. Set to music sung by renowned soprano Cecilia Bartoli, HEAVENS WHAT HAVE I DONE exposes the high personal stakes of artistic practice.

NORA CHIPAUMIRE, MIRIAM
DANCE, ZIMBABWE/US [WORLD PREMIER]
In MIRIAM, Zimbabwe-born, New York-based choreographer Nora Chipaumire creates a deeply personal dance featuring herself and dancer Okwui Okpokwasili. Taking her name from the mother of Jesus; the sister of Aaron and Moses; and the South African singer, activist, and icon Miriam Makeba, MIRIAM explores the tensions that women face between public expectations and private desires and the perfection and sacrifice of the feminine ideal.

KOTA YAMAZAKI/FLUID HUG-HUG, (GLOWING)
DANCE, JAPAN
Famed butoh choreographer Kota Yamazaki has collaborated with six dancers from Japan, Senegal, Ethiopia, and the US on a new performance that blends traditional and avant-garde forms from across cultures. The work evokes classical Japanese aesthetics and the subtle interplay of light and shadow, as inspired by Jun’ichiro Tanizaki’s famous essay “In Praise of Shadows.”

PERFORATIONS: NEW PERFORMANCE FROM THE BALKANS
PERFORMANCE, CROATIA/SERBIA
Zvonimir Dubrović, founder of Perforacije and Queer Zagreb Festivals, has selected an evening of site-specific performance art from some Croatia and Serbia’s most provocative young artists. Writer and multimedia artist Biljana Kosmogina, performer Petra, and experimental music duo East Rodeo explore the contemporary issues of Balkan life and reveal the latest generation of artists from the region.

SAM GREEN & YO LA TENGO,
THE LOVE SONG OF R. BUCKMINSTER FULLER
FILM/MUSIC, US
A “live documentary” from filmmaker Sam Green exploring futurist, architect, engineer, and inventor Buckminster Fuller’s utopian vision of radical social change through a design revolution. With a live score from experimental indie band Yo La Tengo, the film draws inspiration equally from old travelogues, the Benshi tradition, and internet TEDtalks.

Gob Squad, Gob Squad’s Kitchen — You’ve Never Had it So Good. Photo: David Baltzer.

GOB SQUAD, GOB’S SQUAD’S KITCHEN — YOU’VE NEVER HAD IT SO GOOD
THEATER/FILM, GERMANY/UK
Gob Squad takes a trip back to the underground cinemas of New York to re-create Andy Warhol’s Kitchen (along with Eat, Sleep, and Screen Test), a film that somehow encapsulated all of the hedonistic experimental energy of the swinging sixties. Live actors cross in and out of the films and audience.

CHELFITSCH,
HOT PEPPER, AIR CONDITIONER, AND THE FAREWELL SPEECH
THEATER, JAPAN
Three vignettes track the absurd and mundane stories of a group of office employees in this stylized performance from the renowned Japanese theater company chelfitsch. With a unique choreography derived from everyday gestures, the company references the social and cultural characteristics of today’s Japan, not least of Tokyo, making distinctive mark on contemporary Japanese performance.

FAUSTIN LINYEKULA, LE CARGO
DANCE, DEMOCRATIC REPUBLIC OF THE CONGO [US PREMIER]
Legacy, forgetting, and memory form a confluence of forces in the work of choreographer Faustin Linyekula, whose performances are indelibly etched by the experiences of his home in the Democratic Republic of Congo. Linyekula bears witness through his dance to decades of war, terror, and fear, while also subverting the dominant image of contemporary Congo with one of resourcefulness and hope.

Faustin Linyekula, Le Cargo. Photo: Agathe Poupeney.

KEITH HENNESSY, TURBULENCE (A DANCE ABOUT THE ECONOMY)
DANCE, US [WORLD PREMIER]
Bay Area choreographer Keith Hennessy gathers an international ensemble cast to respond to the global economic crisis at the level of the dancing body. The work evolves through improvisation and collaboration; in Portland, a group of guest artists will join and de-stabilize the performance, offering new movements, images, and strategies that explore failure as practice, crisis as movement, and queer as tactic.

VOICES AND ECHOES FROM JAPAN
MUSIC, JAPAN
Acclaimed artist and musician Aki Onda has organized a rare concert from some of the pioneering forces of Japan’s avant-garde sound and music scene. Sound artist Akio Suzuki, experimental poet Gôzô Yoshimasu, and improvisatory guitarist/turntablist Otomo Yoshihide present a range of performances that cross between literature, sound art, music, and improvisation. Together, these ground-breaking artists will invite the audience to reconsider their relationship to sound and the act of listening.

LAURIE ANDERSON, DIRTDAY!
MUSIC/THEATER, US
In honor of the tenth anniversary of the TBA Festival, legendary musician and artist Laurie Anderson performs Dirtday!, the third and final of her groundbreaking solo story works. With signature wit and candor, Anderson engages with the politics of the Occupy movement, theories of evolution, families, history, and animals in this riotous and soulful collection of songs and stories.

VISUAL ART AT THE TBA FESTIVAL
Visual Art Curator Kristan Kennedy has gathered together a group of international artists for End Things, a series of projects and residencies that reflect on “things”—why we make them, why we keep them, and their place in our lives. With an irreverent attitude toward the delineations between mediums, the participating artists shift easily between forms and exist in multiple states at the same time. End Things is work made for the End Times, for an auspicious year such as 2012 when we ask, “But what does it all mean?” Featuring new commissions and residency projects from Alex Cecchetti (Italy), Isabelle Cornaro (France), Claudia Meza (US), Morgan Ritter (US), and Erika Vogt (US).

THE WORKS
TBA’s all-access, no-holds-barred, late-night social club returns for another year of exciting performance and music. From drag rap artists to toy-theater shows to a blacklight cooking demonstration, THE WORKS is a fertile stage for experimentation and raucous fun. Over beers and snacks from local food carts, it is the place to meet artists and other audiences and to debate and discuss all the art of the day. Including performances by Thu Tran & Food Party, Parenthetical Girls, BRAINSTORM, Alexis Blair Penney, David Commander, Laura Heit, CHRISTEENE, and more to be announced.

For more details, visit pica.org. Stay tuned for the full listings of all of the artist projects, visual installations, and THE WORKS. Pass sales begin online in June; individual tickets available in July.

In a recent interview I had with a Paris newspaper journalist, he asked me “What makes Portland weird?” I wanted to scream out, “There is nothing weird about this place, it just is what it is!” But of course, just moments before, I had seen someone pushing a hula hoop and a baby carriage in tandem down the street, and a guy wearing a sleeping bag like a cape, so I knew what he was getting at. I don’t want to be weird; I don’t want my city to be weird either. That is, I don’t want it to be looked at as a curiosity. If they want to talk about our creativity, I would rather us be looked at as a catalyst, a city that sparks something. I do think Portland is strange, as in “to make strange” or to be radical or free. What makes us unique here in Portland is certainly not the slogan “Keep Portland Weird,” which was  lifted from the city Austin, Texas. We could not even come up with our own slogan. Now that’s weird.

Whatever feelings I might have about those cringe-inducing bumper stickers, “Keep Portland Weird” will have another more radical meaning this spring: it has been adopted as the name of a music festival taking place from April 19–29, across four art organizations and three French cities. The Keep Portland Weird Festival will feature scores of bands, video artists, and at least one writer who all call Portland their home. Last September, a contingent of curators visited Portland from the Centre Pompidou à Paris, Centre Pompidou-Metz, lieu unique à Nantes, and Gaité Lyrique to scout music and investigate the art scene that they had heard so much about. They had selected our city as the next in an annual series that highlights the music from iconic cities around the world. The fairly young festival had previously featured music from Berlin and Istanbul—Portland was next on their list… naturally?

The group attended PICA’s Time-Based Art Festival, where they could be seen huddled in the beer garden taking nightly meetings with regional bon vivants. They stayed up all night catching bands, performance art, and other happenings at THE WORKS, and immersed themselves in the shows at MusicFestNW, the culinary treats at the food carts, the vistas from the bridges, and anything and everything else they stumbled upon. As quickly as they were here, they were gone, but they left a lasting impression and promised we would hear from them all again someday soon.

Experimental 1/2 Hour at TBA:11. Photo: Karley Sullivan.

Many emails, contracts, and passport applications later, they have themselves a festival. Later this month, evenings curated by musicians Tom Greenwood, Tara Jane ONeil, Stephen Malkmus , artist Vanessa Renwick, and others including myself will test their French theory that our scene is ripe for the picking. On PICA’s night at Gaité Lyrique, we will start with quiet loops from Dragging an Ox Through Water and escalate to relentless percussion from Brainstorm, Miracles Club, White Rainbow, DJ Beyondadoubt, YACHT, and Glass Candy whose ecstatic beats will round out the evening. I also invited Eva Aguila & Brock Fansler to screen selections from Experimental 1/2 Hour on the flat screens that surround the space, the artist Stephen Slappe to co-curate a video program of local artists, and Publication Studio and others to give me some treats for a Portland Pop-Up Shoppe of artist ephemera. Of course the other curators have a long list of happenings, which you can check out here, featuring other concerts by Holcombe Waller, readings by Jon Raymond, music by Sun Foot, AU, and so many more! The whole thing already seems like a dream, and I can’t wait to be in the presence of all of these great sounds and sights alongside an audience of Frenchies who are trying to figure us out.

In the end, I did not really answer that reporter’s question about “weirdness.” Instead, I parlayed it into an opportunity to talk about what makes the Portland art and music scene so vibrant. We are fiercely independent, and yet highly collaborative; we are innovative and into the new, but have a reverence to craft and that which came before; we like the rough hewn and the slick; we are a giant contradiction and we like it that way. A few nights in France could never sum up what makes us weird, but it can give them a taste of what makes us wild. I will be attending the festival and taking notes along the way—stay tuned for updates and obsessive photo essays. I wish we could bring everyone along, for there is surely enough talent to fill their whole country with Portland music. That will just have to wait until next time, or part deux…

With general pass sales starting today, we thought it was high time we showed you the expanded TBA program. Read on to see what we’ve added, and remember to visit www.picaresourceroom.org for photos, videos and links on all of our Festival artists and projects.

Shantala Shivalingappa, Namasya. Photo: Nicolas Boudier.

ON STAGE

Shantala Shivalingappa, Namsya [FRANCE/INDIA, DANCE]
Born in India, but educated in Paris, dancer and choreographer Shantala Shivalingappa successfully combines East and West in her movement. Namasya is a program of four solo dances, including collaborations with renowned choreographers Pina Bausch and Ushio Amagatsu; as well as a piece by Savitry Nair and one by Shivalingappa herself.

Sarah Dougher, Fin de Siècle [PORTLAND, MUSIC/POETRY]
A staging of three experimental poem-plays by Leslie Scalapino, using video projections, voice and a five part instrumental ensemble. Spanning the distance between the art song and the pop song, Dougher’s score transliterates Scalapino’s challenging language and conceptual framework through a melodic and complexly textured score, foregrounding the poet’s fundamental humanism.

James Benning, Ruhr. Film still courtesy of the artist.

ON SCREEN

James Benning, Ruhr [LOS ANGELES, FILM]
One of the most fascinating figures in American independent cinema, Benning makes his eagerly awaited entrance into HD with the absolutely stunning film on Germany’s industrial Ruhr Valley. A series of masterfully-composed, long-take shots brings the audience to an understanding of the cinematic sublime.

Disorientalism, Two by Two. Photo: Monica Ruzansky.

ON SIGHT

Occupation/Preoccupation, [PORTLAND]
The United States has over 700 military bases on foreign soil in sovereign countries where we have no declaration of war. This project unites musicians, researchers and music-lovers to gather covers by American musicians of songs that originate from each of these places, in a symbolic re-occupation.

Blue Sky Presents Laura Poitras: It’s All A Blur [NEW YORK]
Drawing upon images and sounds recorded in the immediate aftermath of 9/11 , O’Say Can You See evokes the experience of disorientation and loss that continues to haunt the nation. Footage from ground zero is combined with looped and sampled audio from the Yankees’ come-from-behind victory at Game 4 of the 2008 World Series.

PNCA Presents Disorientalism: Ready Mix [ARIZONA/NEW YORK]
The duo’s preoccupation with junk culture translates into junk food, as Ready Mix stirs up the story of Aunt Jemima’s century-long makeover from “slave mammy” to “modern working mother.”

PNCA Presents It’s All A Blur [CALIFORNIA]
It’s All A Blur focuses on three West Coast masters—Guillermo Gómez Peña, Dale Hoyt and Tony Labat—who have pioneered an intellectual, multifaceted approach to identity and art as means for social justice in the post- Bush era.

Michael Reinsch, Gallery Walk. Photo: Nathanael Thayer Moss.

OUTSIDE

Tim DuRoche & Ed Purver, The Hidden Life of Bridges [PORTLAND/NEW YORK]
The artists turn the Hawthorne Bridge into a radio and the Morrison Bridge into a cinema during this large-scale video projection and sound composition

David Eckard, ©ardiff [PORTLAND]
Channeling snake-oil hucksters and midway barkers, Eckard will take to his public stage to ruminate on hoaxes and fabrications.

Tesar Freeman, Gadsden [PITTSBURGH]
A modern day re-enactment of the American rattlesnake icon will fly from the flagpole of Washington High School, interrogating the power of symbols, and the ways in which they are re/mis-appropriated.

Michel Groisman [BRAZIL]
Through a series of simple games and exercises, Groisman will lead audiences in participatory performances that examine the connections between us. He will also present his work, Transference, a contortionist performance in which he lights and snuffs out a series of candles attached to his body.

Michael Reinsch, Gallery Walk [PORTLAND]
Donning a gallery costume, Reinsch will walk the streets of Portland accompanied by a Gallery Attendant and spouting of spoken word poetry constructed from the manifestos and artist statements that galleries produce.

Miwa Matreyek, Myth & Infrastructure. Photo: Scott Groller.

THE WORKS

Vockah Redu [NEW ORLEANS, BOUNCE MUSIC]
Vockah Redu and the Cru animate the stage with their dynamic revival of dance, music and art from the street corner to the club. More than your typical hip-hop act, this theatrical performance sets the stage for a sweaty, hands-down, booty-up good time.

Beyondadoubt [PORTLAND, RnB, BOUNCE, SOUL, DJ]
Pulling from her Southern roots, Beyondadoubt has brought originality to nightlife for over a decade, whether in the Northwest or the deep South. DJing since ‘98, Beyondadoubt creates rhythms from her sprawling collection of vintage soul records to compliment her raw, Dirty South, New Orleans Bounce and 90’s rave sounds.

Fast Weapons presents Love is Blind, Lingerie is Braille [PORTLAND +, MUSIC, EXPERIMENTAL THEATRE]
A night of music and mayhem curated by Nathan Howdeshell and his Fast Weapons music label. Featuring Beth Ditto, performing her new solo work with Beyondadoubt, garage rock from Ghost Mom, visual and auditory bombast by Dangerous Boys Club, a one-act play by Harry K, and the release of Nudity in Groups‘ newest broadside in the high school bathrooms.

Ten Tiny Dances 25 [GLOBAL, DANCE]
Celebrate the 25th performance by Ten Tiny Dances with a lineup that draws together five “greatest hit” tiny dances, and five new works by TBA Festival artists.

Shana Moulton & Nick Hallett, Whispering Pines 10 [NEW YORK, DIGITAL OPERA]
A live-performed, computer-animated opera, featuring the hypochondriac agoraphobe Cynthia, as she navigates her daily life and her fantasy illusions.

Experimental 1/2 Hour [PORTLAND, CABLE ACCESS, EXPERIMENTAL PERFORMANCE, VIDEO]
The biweekly genre-bending cable access program presents live performances by Flaenge God, Barbara, Princess Dies, and Lucky Dragons, along with a suite of video projects. Hosted by Beau von Hinklywinkle.

Cinema Project Presents Alex MacKenzie: the wooden lightbox [VANCOUVER, BC, FILM]
Using a handbuilt wooden projector, Alex MacKenzie attempts to re-instill some of the early magic of the moving picture in this intimately-scaled film.

Miwa Matreyek, Myth & Infrastructure [LOS ANGELES, LIVE PERFORMANCE/ANIMATION]
Digital animator Miwa Matreyek steps into her projection and navigates the projected worlds of her own creation, in the process making a live-performed film that layers body, space, and animation.

NEW MUSICS [PORTLAND/SAN FRANCISCO, EXPERIMENTAL MUSIC]
Megan Holmes and Claudia Meza present a night of new music experimentation, featuring Meza’s wordless sound and video opera, Liz Harris’ (Grouper) tape collage performance with Flash Choir, and new compositions by Tashi Wada.

Catch [NEW YORK/PORTLAND, DANCE/PERFORMANCE]
Like New York’s own take on THE WORKS, Catch is a no-holds-barred performance series curated by Jeff Larson, Andrew Dinwiddie and Caleb Hammons. This special TBA edition will present dance and performance in a club setting by Luciana Achugar and Karinne Keithly, among others.

Big Terrific [BROOKLYN, COMEDY]
Big Terrific is a weekly comedy show in Brooklyn hosted by Gabe Liedman, Jenny Slate and Max Silvestri. Show up at Big Terrific to hear personal stories from people who love to tell them, see short films by up-and-coming directors and laugh along to stand-up curated carefully by Gabe, Jenny and Max.

Dance Truck [ATLANTA, DANCE]
A dance series programmed in the backs of pick ups and the bays of panel trucks. Revelers will be treated to intermittent dance performances by local and visiting artists, empty truck beds for makeshift dance floors, and drink specials on Southern treats like mint juleps and boiled peanuts.

However, I wonder if that act even matters anymore. Does getting naked onstage have any symbolic meaning? Well, it sure mattered when you were a teenager. If you follow the progression delineated by Guitierrez companies’ Dean intimations and the cross-referencing dissections therein, you’ll find that it sure mattered when you were a teenager. And, that’s where we as a country are currently mired; America looks good on screen. We sure appear to be fresh and cool, but when things get fucked up (which life does and countries eventually do) we (the people) are too immature and confused to really know what to do. We’re young, dumb, and hopefully we don’t drive too fast down future’s highway. Gotta know to handle the curves, America, not just the lines.
Or, maybe I’m reading too much meaning into things. Regardless, I do like to be antagaonized and titillated by art. The confusion was a bit much, but I choose to interpret it as symbolic, just as I choose to interpret the unexplained removal of clothing.. I find it less annoying to think of it that way…

But while the portrayal of these characters is witty and charmingly earnest, and the interlocking of their individual stories quite clever, the stories themselves could use some work. The beginning introduces each character with a blunt name/age/relationship format that might have better been communicated with Beaty’s acting skills throughout the stories than outright explained at the beginning. The ending, in which the characters are simultaneously healed through a mystical, Christian experience, was also a bit awkward, and seemed a bit rushed. I think it might have worked better if some of the mystical elements made brief appearances throughout the production, instead of storming in full force at the very end.
To be fair, this was a pared down show, and some of the issues may have been the result of a quick transition from a full cast play to a one man show, and, in any case, “Resurrection” is still a moving, powerful production that, despite some of its clumsy elements, showcases a skilled actor with real talent, and no shortage of ambition.
-by Abe Ingle

The Next Day:

Posted by: Sarah Hoopes
Image by: Patrick Sullivan

3:15 p.m. – Return to the Feldman with my buddy Emily. We’re early. “I heard there’s a European porn magazine hidden in the boardroom!” I say and we head back to investigate. WHOA! Mike Bonnano himself is sitting at the table with his laptop open looking a tad road weary. We introduce ourselves and I’m so star-struck I reintroduce Emily who graciously shakes Mr. Bonanno’s hand for the second time. Awkward laughter. “Is that coffee I smell?” he asks. Star-tarded Sarah offers Mr. B. her half consumed Americano, promising I don’t have anything contagious. He takes a sip and thanks me, then gets a phone call so Emily and I flee.
See you at How to be a Yes Man | Sept. 6 | 3 pm – 4 pm | PNCA Campus, Room 204
Posted by: Sarah Hoopes
Photo by: Patrick Sullivan