By Tim Miller
For 1 / 4 century, Tim Miller has labored on the intersection of functionality, politics, and identification, utilizing his own stories to create enjoyable yet pointed explorations of existence as a homosexual American man—from the perils and joys of intercourse and relationships to the struggles of political disenfranchisement and creative censorship. This intimate autobiographical university of Miller's specialist and private lifestyles unearths one of many celebrated creators of a vital modern artwork shape and a tireless suggest for the yankee dream of political equality for all citizens.
Here we have now the main entire Miller yet—a raucous choice of his functionality scripts, essays, interviews, magazine entries, and images, in addition to his latest level piece Us. This quantity brings jointly the non-public, communal, and nationwide political strands that interweave via his paintings from its beginnings and eventually outline Miller's position as a modern artist, activist, and homosexual guy.
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Extra info for 1001 Beds: Performances, Essays, and Travels
Mowing the rock club. Mowing the opera house. . I’ve been performing a lawnmower dance for a year or so. K. and Marilyn Monroe mows the space and I dance and dance and the mower almost cuts my feet and the space gets smaller and I dance faster & faster. . One of the verses of my hamburger song talks about paying the rent and going and eating a hamburger. Another verse talks about being sick of sex and having a hamburger instead. Another verse talks all about if the bombs fall on your head then it’s too late to go and eat a hamburger.
I am proud of some stuff. I do have a common last name, and I did want to be president when I was a kid. But not now. And I could squint my eyes or wear a hat or hold my hand up over my head between me and the light. Or I can take off my dark glasses and see. . This land is your. . Oh beautiful for. . 26 Live Boys and Tim Miller’s pioneering festival of gay men’s performance inspired his first collaboration with John Bernd, We Had Tea We Ate Cashew Chicken, performed at PS 122 in November 1980.
As I write this story, it becomes a completely necessary act of looking at the past as a means of negotiating a more empowered and grounded relationship in an uncertain future. Each in our own way, Alistair and I are writing our memoirs of what has happened as a way of creating a future together. I have a completely unsubstantiated faith that if I write this story, I may be able to affect how the story will end. I have always used the memories of things passed to rewrite the ending of what is to come.