jon hassell | diorama 1

diorama 1979–1980

di-o-ra-ma: A three-dimensional miniature scene with painted modelled figures and background




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Verbatim notes in red

10May79 lssey Miyake gives me the shirt off his back (literally) in the bar of the Algonquin. Daniela Morera, New York editor of Vogue Italia, had introduced us before and he had decided to use my music in his ultra-hip shows in Milan and Tokyo.

29July79 Sunday. Louis Malle calls, tells me he likes very much the records I gave him. Wants to get in touch in September. We met at a party a few days before. In attendance, Margeaux Hemingway, Michel Piccoli who I had loved (and identified with) in Godard's Le Mépris (Contempt). What an honor to have had a chance to chat with Louis Malle, this great film artist and music aficionado, to have a private, man-to-man, mock-lament together about how bereft we suddenly felt when the girls walked out of the room where we were. The records referred to must have been Earthquake Island, Vernal Equinox, maybe Pran Nath's Evening Ragas.

10Aug80 Sunday. The Morning of Madame Chang(e).

The most extraordinary event this AM in the park, walking Beeper, seeing Kathy Chang with amp and all: talking herself, social change, etc. and keeping really cute little girl movements with her body going all the time. Then I carry her amp and walk with her back up to hotel, we go to 333 (my loft), have breakfast, talk, smoke, she does stretching exercises and dances to Possible Musics in front of mirror. I was surprised to see that this was the way I had written it in my agenda that first day I met her; I learned later that she had actually added the "e". Kathy drifted in and out of my life for a few months afterward and I hadn't heard of her for 16 years until I opened the NY Times one day in October 1996 and saw her in her star-shaped bikini bra dancing with banners emblazoned "Pollution", "War", etc. under the headline "Penn Remembers a Woman Who Immolated Herself". OM Kathy Change.


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