Moments Like This Never Last (2020) - full transcript

You fucking smacked the bottle.

- Are you going to go easy or are you going to go home?
- I'm going to go easy.

I didn't do it!

Be fair.

Honestly,
I swear to you, I didn't...

I argued with him,
but I did not hit him.

I can't really say that I
have a title at this point,

I'm working on it,
but Dash Snow.

So what keeps you alive?

Four big bottles of water a day,

two packs of
Marlboro Reds and...



What keeps me alive, shit...

♪ New York, I love you,
but you're bringing me down ♪

I'm in love with this city.

I have a permanent bond,
you know, it's in my blood.

I love to love it.
I hate hating it.

♪ New York I love you,
but you're bringing me down ♪

It's the worst place to be
if you're not happy there,

it's a thin line
between love and hate.

♪ Like a rat in a cage ♪

♪ Pulling minimum wage ♪

♪ New York I love you,
but you're bringing me down ♪

I'll tell you what
I don't believe in,

can I do that?

All right, I don't
believe in the laws



or the system by any
means whatsoever.

I try not to obey
them at any time.

♪ Our records all show
You are filthy, but fine ♪

That's what I believe in,
not believing in.

♪ And oh, take me off
your mailing list ♪

♪ For kids who think
it still exists ♪

I was taking pictures and
making work for a long time

before I showed anyone.
I only showed my friends,

I mean I have no shame,
I'm not ashamed of anything,

I don't care
about what people see,

but for me,
this is not for anyone,

it's just for us, it's like
a really pure moment.

♪ Maybe you're right
Maybe I'm wrong ♪

♪ And oh ♪

Dash, nice to meet you.

- Nice to meet you, what's your name?
- Chrissy.

- Nice to meet you.
- And that's George.

Take it easy.

That was my first solo show,

it was an honest portrayal
of what was going on, you know?

I'm a pretty dark person,
I thought about ending it

a million times.

Something that I've learned
is art doesn't just happen,

it doesn't just appear
out of the ether.

Individuals have
to make it happen.

He was the most
charismatic artist I'd met

since Jean-Michel Basquiat,

who also embodied so much of
his aesthetic in his person.

So he had this kind
of situationist idea

of psychogeography and he
would just wander the city

looking for sites
to take Polaroids...

to tag whatever.

We're talking about the 2000s,
it was sort of pre-internet.

So artists would gather together

and just talk to one another

rather than communicate over
social media or whatever.

Put that here.

One of the last
moments where New York City itself

was the sort of
studio and the crucible

for these ideas and artworks,
not the world.

And it was conceived of as
a completely collaborative work

fueled by a certain
kind of bravado,

a certain kind of
art-making, by drugs...

♪ I got my blade, I got my lady
Gonna touch my hand ♪

♪ Give a little kiss ♪

- ...by sex.
- ♪ Like this ♪

It felt as if that energy

that had been
the domain of musicians

was being encapsulated
in the art world at that moment.

- You behaving?
- ♪ God have mercy ♪

Behaving like we have
a youth code?

Dash was such an
influential figure in this scene.

He really was at the center.

This is like typical night out.
Dan's doing a bump,

Dash is wearing chainmail
for no reason.

He was so many different things
to so many different people

that it's really hard
to understand him

as a complete person

'cause you only
got one part of it

whereas somebody else might
have gotten another part.

That's why I think
it's interesting

to try to do this film

to like piece it all together
and try to explain honestly

your best version of
who you believe he is.

They loved to take the
heads off of my Barbies

and throw those out the window.

The doormen would
come up to our apartment

and be like, "Is this yours?"

Can I take a picture
of the skulls? I can cut it.

You got to get
in the light though.

Is this thing on?

I see a red light.

When you're 12

and you're out
in the middle of the night

and you're in a place where
nobody else is supposed to be

and you got free reign

and you see this incredible
thing that's huge

in the dark in the tunnel,
it was amazing.

You know when you go to
a museum or a gallery

and you're like, you can't
stop looking at a painting,

it was that, turned up.

Just because of the environment.

It's a fucking
addiction you know,

it's just in your
blood and that's it.

You do it all the time

and you know,
you become a fanatic

and he's a fucking beast.

This is when I first met Dash.

The way I met him was funny.

I used to go to this
place called the Freedom Tunnels,

the Amtrak tunnels.

'Cause it was near my
house where I grew up.

I went in there one day.

I got chased out
by some guys with pipes,

Share37 and Mars69.

Yo, he actually came up to me,

told me and Mars,
"Yo, what's up?"

They didn't rob me with
the pipes, obviously,

they bought me a forty
and we hung out, you know?

Sace, myself.

I had been doing it
for about a year and half

and they kind of
schooled me a little bit,

gave me some letters, whatever,

and at first, I was doing
what they were giving me

and I was like, "Fuck this,
I wanna do what I want to do."

So it was Sace,
then I added an R,

as a desperate attempt
to try to make it

at least a little bit
more interesting

because it was just like
the stupidest name, Sace.

I just did that one
the other night.

I like it because
there's no rooftops on C,

so that one kind of
sticks out, you know?

I'd like to say I climbed,

but I know someone who
lives in the building.

My dad used to live down here

because I grew up in Midtown,

but I remember coming down here

I guess like mid, late 80s.
That's pretty out of hand.

You hard motherfucker,
you ain't seen it yet.

Manhattan, New York City
was not like it is now,

where like Downtown is
fucking Beverly Hills,

like it wasn't a crazy barrier,
that you had to be

a bazillionaire
to live anywhere. You know?

It was more of just,
a neighborhood.

And we were
kids, you skate, you write,

you hang out,
you want to be a bad kid,

you want to be cool
and we just thought we were ill.

I always had a psychotic,
like unhealthy amount

of freedom as a young person.

What's the other name?

That's my partner in
crime, Glace.

G-L-A-C-E, Glace,
no meaning whatsoever,

I just liked messing around
with the letters.

When did you meet Dash?

I was walking
through Central Park,

bump into like 25 other people
who I had problems with.

I told them that I'd
fight any two of them,

they're like, "Okay,
who do you want to fight?"

I said I would fight this
kid Louie and then Dash.

They wouldn't let me fight Dash,

Louie slammed my head
into a brick wall.

- Officers.
- Po-po.

Coming through, folks.

Thank you,
coming through, please.

The police came, we shook hands.

We ended up hanging out,
throwing watermelons at cars,

smoking weed, causing trouble

and from that day forward,
we were just pals.

Thinking back on my own history
and then having a son now,

I don't know,
it's kind of a daunting thing.

I had no boundaries,
no rules, no nothing.

I was living in this house

where there was like
these big drug dealers,

like in the projects,
in the South Bronx,

for three weeks.

And my one
memory of this was like

doing coke with these
30-something-year-old men

and I'm like 14 and I really
looked up to these guys,

like old-school graffiti guys,
you know,

and like four or five
little Puerto Rican kids

and Black kids running all
around while we're doing coke

and I think one of them had
like his mistress kind of

situation in the house
with the kids

and the mother of the kids
came and freaked out

and was like,
"Who's this fucking white boy

in our house,
you're giving him cocaine,

he's a teenager,
we're gonna get arrested,"

and he had to make me leave,

he was like, "I'm so sorry,"

so I stayed in some
other projects, you know.

Do you like it so far?

Yeah, but I don't understand it.

My brother is a graffiti artist,

but he does the drawing stuff,
you know,

with the fingers,
yeah, like that.

Tagging, yeah okay,
you could say that,

It looks interesting though.

But I'm just curious.

They told everybody
in the neighborhood

that I was half Irish
and half Puerto Rican

to maybe make it okay,

like I don't know how I
could get away with that.

Here, I'll open the building.

How you doing?
How's it going guys?

- You never know.
- Yeah, hell no.

Thank you.

You have to master
the art of sneaking out,

which I did
till I was like 11 or 12.

What would you
do when you went out

when you were 11?

Maybe steal beer,
I don't know, just go write.

I think even at 13,

everyone thought
they were so fucking cool,

but Dash is like,
"Yo, I painted a train

with this guy
who painted trains in the 80s."

And you're like, "What the fuck
are you talking about?"

But then at the same time,
we're like, "That's dope."

This guy is doing all this shit

while we're all just like
catching silver marker tags

by the pizza shop.

He would just be out all night.

When it was time to go home,

the birds were actually
chirping in the morning.

And he would just cut school.

My mama started
questioning things, she's like,

"Yo, man, does this kid
go to school or something?

He told me he was
basically, essentially kidnapped

in the middle of the night.

He didn't know where
he was going for a long time,

they only revealed it to him
when he arrived there.

What pops into my mind
is bounty hunters,

but not exactly,
but sort of the same.

The process is,
escorts were hired,

who were big thugs,
that would come

and pick kids up
at their homes at 4 a.m.

and bring them,
unbeknownst to them,

sometimes with chains
between their legs or handcuffs.

So probably,
two people brought Dash

unexpectedly to Georgia.

That was something that
didn't just happen to him,

I guess that was a fad.

I met
Dash at Hidden Lake Academy,

just a fucked up place.

I would see some kids arrive
in these little zip ties,

fighting and you know,
'cause it would be like a show,

we'd all kind of watch
the new kids arriving

and you'd be like,
"Welcome to hell," you know?

The ways they got
here were traumatic to them.

Then what would happen,
they would be strip searched

and it was common
and kids did sneak in drugs

and knives and other stuff.

They would sort
of like strip you of your identity.

Kind of like, if you had
long hair, they cut it,

whether it was a band T-shirt,

or a pair of sneakers
that you skateboarded in,

they didn't want you
to have any sort

of individual expression.

We were like caged animals.

There was one guy

and he was in there
for raping his mother

and I remember one night
over 50 kids went into his room

while he was sleeping and beat
the living shit out of him.

There was a lot
of kids that would cut themselves

and try to run away.

He told me that the girls
would cut themselves

and drink each other's blood.

He told me they
had him do arbitrary work,

like dig fucking ditches
and fill them back up again.

Like clearing
bushes, digging trenches,

moving railroad ties,
these massive blocks,

kind of to put
on the sides of the roads,

like war camp style,
building the facility

for the next group of kids,

carrying pitchforks, we were
like a little chain gang.

You've got
to be able to take it.

Your body's got to
be able to take it.

At that point I just wanted
to destroy everything.

If there was wall
in front of me,

I wanted to smash it,

if there's a person
in front of me,

I wanted to smash it,
I was so angry at everything.

I didn't want to be anything,

I just wanted to escape,
you know,

Counts of Monte Cristo.

I had a completely
different mindset, just like...

being abused and locked up

and every night
before you go to bed

they make you
take all your clothes off,

pick your balls up, bend over,

spread your ass cheeks,
open your mouth

and the walls
of the rooms you stay in

are all painted bright yellow
or shades of dark...

or weird greenish gray,
like hospitals,

jails and psychiatric
institutions.

It's all like, the tones
of the colors of the walls

is to try to control you
in another way.

This whole fucking
bullshit therapeutic trip.

Most of the kids there
were there mandatory by court,

you know, but my mother paid
for me to go to this place.

Paid.

So eventually my father came

because I refused
to have my mother come in.

I love my father,
but I stole his wallet,

it was my only means of escaping

and I escaped, ran away,

and took the train
back to New York,

and I lived in the projects
in the South Bronx.

I can't think of
anything that he really did wrong,

but the whole thing
of separating all of us

and sending us
in different directions

wasn't new,
she had always done that.

Even when we were kids,
we weren't really

allowed to play together.

We had to be in separate rooms.

Insane. But you know,

my grandmother
is like 75 years old

or something like this
and she's super fucking cool.

You have to understand,

before Dashiell Alexander
Whitney Snow was alive,

his family, Christophe alone
was very dynamic in New York

and knew Andy Warhol,

dated John Lee Hooker,
and would have parties...

she lived in a firehouse,
I heard.

And Mick Jagger
would come to her parties

and get wasted.

She married Robert Thurman,

who was actually
much younger than her.

My grandmother was like 35
and he was 19.

He was very involved
with the counter culture

and very close to Timothy Leary

and did a lot of experimentation
with that kind of stuff.

Ultimately, he decided
to become a monk

and he was the first
westerner to be ordained

a Buddhist monk.

We didn't really spend
that much time with him,

like my mom told us
that he was dead.

And you live with your grandma?

- And my wife.
- And your wife.

And you got married
like two years ago?

Like a year and a half ago
or something like that.

Is she from here?

Nuh-uh, she's from an
island in the Pacific.

No, I'll tell you.

The waitress at the
restaurant was a graffiti writer.

I was completely
in love with her,

she's a pirate like me
and I love her,

I will always love her,
you know?

He was very sweet, always.
Very nice.

He knew about everything
and everybody.

We were at
this party and Dash was like

"I got something to tell you
guys you don't know about me,"

and he broke down the fact
that he had descended

from the Schlumberger
oil fortune,

which you know,
I went home and looked it up

and figured out, "Oh man,

this is not only
the oil fortune,

it's DIA and it's like,
it's everything."

My great grandmother Dominique

moved to Texas during WWII
fleeing from the Nazis,

because John de Menil,
her husband

was part of the
French resistance,

so were some of her
brothers and they had been

sabotaging the Nazi trains.

So they moved to Huston

and that's when they started
the Menil Collection.

You have this family
that has so much privilege

and yet there wasn't a whole
lot of emotional support.

They say blood
is thicker than water,

but sometimes it's not.

So I had to find my own family
which eventually happened.

Yeah.

You know when I met Dash,
he was homeless

and I met him and Kunle

because they were constantly
at Astor Place.

He was sleeping on the subways,

and him and Dash
were street kids.

I knew him right
when he ran away,

the year I ran away.

It is amazing
that we found each other,

I needed to get
away from my family,

he needed to get
away from his family.

Big up my homie.

And we have all this energy

and we need to sort of
be around like-minded people.

Being gay in the
suburbs was always really tough

and I felt really misunderstood

and I just felt like I needed to
find people that were like me

and that were interested
in the same things

that I was interested in.

Being from New Jersey
where there's only

one or two kids
in each town that skated,

you would link up
and go to New York

and you would kind of
all skate from the banks

to the sea port, to Midtown,
skate all over the city.

Once you start
coming to New York,

it sort of becomes an addiction.

A lot of these kids
in New Jersey would be like,

"I can't believe you go to
New York and skate all day

and you get chased
and you go to raves."

And I would look
at them and say,

"I can't believe you don't."

It was right there,
it's so easy.

And you felt part
of a bigger thing

than you did wherever
it was you came from.

I think I'm getting
addicted to this shit.

Visually they were the
most exciting kids,

and I wanted to make a
film about that generation

which I knew nothing about.

I met Ryan after Kids , I think,

then I met Dash through Ryan.

I remember crossing
the street with Dash

and talking to him,
laughing with him

and I felt like
I was a teenager.

I'll never forget it.

I actually wrote a screenplay

and the premise was Dash's crew.

Where should I write IRAK?

I couldn't get it produced

because no one understood it,
you know?

Silly graffiti writer,
just do this.

Ready?

Track mark, Renegade,
what else did we have?

Crispy White Kids.

We started a crew
for a few days,

Crispy White Kids,
but it was one white guy,

a Dominican and a negro.

I wasn't down. I can't be down.

The crew lasted
for one day, man.

- It was your crew.
- So?

I was trying to put you on,
like your own little...

You don't remember that?
When I tried to do that for you?

Yeah, IRAK.

That's our crew.
A few years, a few years.

'99 was when that
really kicked off.

It's Kunle's crew,
like he started it.

I started stealing shit...

and then I met some
other graffiti writers

that were into stealing shit
and were good at it,

but not as good as me.

Kunle was a booster,
he made his money shoplifting,

stealing North Faces,
like Enfamil powders

and selling them
to bodega guys and etc, etc.

And it's the closest thing
to a job that anybody had.

You'd be walking down a street
with Ear Snot

and he didn't like the way
he was dressed.

So he would go in a store

and come out
with all different clothes.

He would just leave his clothes
and take the clothes he wanted.

Yeah, I'm just good.
Like seriously, everything,

cereal, frying pans,

scuba suits, steak.

Him doing things that
were next to magic,

like pulling a chair
out of his pant leg,

like a collapsible chair.

They definitely weren't
normal graffiti writers

that wore graffiti
writing clothes.

Like they would go out bombing

in a $20,000 mink coat,
you know what I'm saying?

They didn't give a fuck
about that stuff.

We were a multicultural crew.

Kunle being gay.

You eat a lot of steak, huh?

I eat a lot of meat,
if you know what I mean.

There was zero maturity.
It was like, you know,

"That's the person
that we make fun of,"

and they're like,
"faggot, faggot."

And it's like, "Really,
you want to fight or something

because you got to stop
calling me a faggot,"

and they're like,
"What are you, gay?"

And it's like, "Yeah, and?"
And they're like...

And then we would fight
then I'm just like, okay, so...

Graffiti is this
basically uptight, homophobic,

and just uptight tough guys,
you know?

And here Snot showed up
as like a big pro-gay,

sex-positive graffiti writer

and it just really
rejuvenated the whole thing.

It made it, it was like
fresh ink in the mop.

That crew was definitely
like what New York City

was supposed to be,

the ultimate melting pot of
new ideas and experiments.

That was like
right when I met him,

I think I ran into him
one time at a party

and he was
with the whole crew,

and they were acting so crazy,

wearing all this
stolen tech gear,

writing tags in the hallways.
They were all like...

After we met, every day
and night we painted,

and then go to bars
after you paint or before,

and started
just getting introduced

to this crazy life
that Dash lived.

We're on 7th Street,
between 1st and A,

yes, this is Ryan's building.

Yeah.

And it was like
the kitchen was a mess,

iced tea all over the place,
like cups and stuff in the sink,

it was pretty flop house-y,
like a community art studio.

It was like the most
fucked up episode of Friends

or Seinfeld
that you've ever seen,

where people were
just in and out,

in and out, all night long.

Originally,
it was me and Teddy.

I knew Ryan from high school.

I moved into the city
at the end of '97

and then Ryan and I moved
together in December of '98

and that's when all these guys

started washing up
on our doorstep.

That was the
beginning of it all.

7th Street was our clubhouse.

And then it became me,
and Teddy and Dan.

When I think of 7th street,

I really think of like,
a bunch of people

piled on a bed.

And then Dash
moved in for a little bit.

So it was me and Teddy
and Dan and Dash.

You'd be on
a bed with six people

or you'd take a break
and be on a bed with one person,

all on a very
kind of intimate level.

So I would go over to 7th street

and there'd just be
like coke on the table

and everybody
just ripping and roaring

and nobody wants to
photograph a bunch of guys

smoking weed, you know,
that's boring.

So let's give Dan Colen some
dust and see what happens,

this big floppy motherfucker.

I was really, out of that crew,

the only person
with a studio practice.

I would come back at
the middle of the night,

they would all be making
stuff all the time,

their practice, their work
happened amongst people.

At the time Dash was
married to the artist Agathe Snow.

They were the first people to
let me into their love affair,

it was so cool
to have these two people

that were so comfortable
in front of the camera

and I got to photograph
their relationship for years.

You know, the 7th street crib,
that's what that was,

people used to be scared
to come after hours,

like, "You guys
do a lot of drugs there."

But we were also doing
a lot of creating,

that was the launchpad
of Ryan's career,

Dan Colen's career,
Dash Snow's career.

He brought me
to the basement of La Poeme,

which was his wife's
mother's restaurant

and he pulled out
from the shadows

this box of Polaroids

and he just showed me
thousands of Polaroids.

Dash only shot Polaroids.

Yo, Craig, what do you think?

This shit is ending,

it's always easy
for it to turn diagonal

and it's totally not straight,

- should I just restart?
- Yeah.

- Yeah?
- You need help, man?

Want me to hold it
and then you could...

I guess, I don't know
what the fuck...

It's gonna be hard
to get it exactly like, aligned.

And then I have
some cool Polaroids of Dash's.

I think they're all
in this portfolio.

Oh this is an unpleasant one,

but this is Kent and probably
Agathe passed out-ish.

Nice composition of bodies.

Oh man.

Just Kunle tagging a police
barricade in a wheelchair.

Some of his best
photos involve Kunle,

I feel like you could
say he was a muse.

Like I said, Kunle.

This is a nice
brotherly love photo.

You know,
a lot of the Polaroids,

even though they look
like accidental moments

are really staged moments

and people wanted
to be manipulated by him

because he was so magnetic
and they wanted

to spend the evening with him,
you know what I mean?

So he had this sway,
it's like a natural ability

to direct humans.

There's one absolutely
remarkable image,

it's somebody snorting coke

off of Ear Snot's
erect male member.

Everybody was in it together.

Nobody felt exploited
or anything like that,

it was like I can't even
match what this guy is doing,

so what's the big deal
if I get naked?

This guy is doing coke
off of this guy's dick

and I'm worried
about getting naked?

We were like, "Well, all right,
photograph my dick."

So there was a real
freedom within all of that.

This is a nice one.

This is my friend Ry,
he has some panties on his face

and he's going through
the purse of a lady

whose T-shirt says
"Jesus loves you."

She's sleeping and her purse
is being explored.

I mean,
it's partially just being very young

and just reckless and you
feel like you could live forever

and this and that,
but I think also with him

it just seemed like
he'd really push it.

It's those moments
when you have all the players

and all the characters
and all the attitude

and all the drugs,

and here's the streets,
here's your stage

and the door opens up

and it's like somebody's
gonna die tonight.

Stories... lighting
Christmas trees on fire,

and then a car catching fire,

he's a little pyromaniac.

I remember him
throwing cans into a fire once

and them exploding.

This is what happens when
flames meet aerosol cans.

Come on, man.

- Yeah, okay.
- Like imagine being burned...

You know, he didn't have
any sort of fear of heights.

I have a picture of us
where he's got one foot

on the outside of a building,

the whole rest of his body
is suspended out,

I'm just holding his hand

five stories up or
something like that.

Dash was a very agile
and peculiar, special climber,

moving in a way that
you can't really compare him

to anyone else.
Really graceful.

He had smaller feet than I did,

so he would run out on ledges
without a care in the world

and I was super afraid
of him dying or something,

or falling, like it made
it more worth it for him

if he could almost die doing it.

It felt like you almost
just were like "Fuck it,"

like every night you went out,

it almost felt like
you could die.

I mean, there's definitely
an air of daredevil-ism,

I guess, trying to do
the most outrageous thing,

like paint the busiest place.

Oh, the floor.

Yeah, some guy did that.
I've seen pictures, it's crazy.

No, it's cool.

I've got a picture
of it in my house.

I mean,
everyone hated Giuliani at that time.

CPR, corrupt prejudiced racists.

No person in the city,
especially if you are of color

should have to worry when
your children go out

so that they may not
be able to come back.

- No justice!
- No peace!

- No justice!
- No peace!

What do you
think of Rudy Giuliani?

I mean...

Stupid.

Everybody's going,
getting arrested for graffiti,

possession.

I'm on 6th Avenue
and Prince Street,

and whatever, and they
pull me for no reason,

and I had a marker in my pocket,

so it's possession
of graffiti instrument

with intent to do it.

So you do a night
in central booking,

and I have to say, to be honest,

I'm not racist at all,
but I'm white and it helps.

I swear,
with every aspect of things.

When they started shutting
down the parks at dusk,

where people could kind of
gather at these places,

that kind of became
the enemy in a weird way

of the quality of life moment
in New York City.

So him and Kunle
and the rest of the IRAK kids

like slammed New York City,
and especially like Dash.

He hit the fucking
Brooklyn Bridge.

That's forget about it,
right there.

Legalize graffiti.

Dude, it won't happen though,
this never would happen.

That would be like the
worst thing ever, oh my God.

Because then I'd have to
start doing some move...

Then we'd have
to go to art school.

Yeah, right?

Yo, Ben, KS.

Yeah, I don't know.

This guy always wanted to paint
the fucking Brooklyn Bridge

because that's an insane
thing that only one person

had ever done before,
and it's a landmark,

and it's dangerous,
disrespectful.

It's the fucking
Brooklyn Bridge.

The cars are
underneath you so there's bars

that go across to the ledge,

and you just run across the bar,
and then he jumped up there,

painted "Fuck Giuliani,"

and he probably had to look up
how to spell Giuliani's name.

Dash just went up there,
took off all his clothes,

facing the water,
he's like "Yeah!"

Whatever, it would've
been so nice to jump off

into the water if you
wouldn't die, you know?

We went to party after
that, we went to Cherry Tavern

or something
and stayed up all night.

We were telling
people to look at it,

joggers, and they're just like,

"Leave me alone.
What are you talking about?"

Because we thought
it was so cool.

Shit, I don't know
how I would feel now,

as a 37-year-old man
if it's some fucking asshole

you know, defacing the bridge
and I had no insider knowledge,

but at the time,
it was pretty glorious,

it was a really fucking
fantastic, amazing,

legendary thing to do.

Yeah.

Glorious.

Plus also, because you know,
Giuliani is such a...

Yeah, such a fucking dick.

- Two planes?
- Two planes.

Oh, I've never seen
anything like this,

you'd see movies,
but they were movies, but this?

Did you know there
were people jumping off?

That's what I heard.

The guy said he
saw six of them jump,

one after the other.

Come on.

What are you gonna do?

Michael!

Go east, I'm not
going in this building,

go east, go right.

Go to the river.

Everything is falling down.

They all went this way.

My generation,
the formative experience,

the shock that
changed our worldview

was the Kennedy assassination,

and for people Dash's age

who were in New York City
during 9/11,

that was cataclysmic.

Downtown was
basically a war zone

and from Houston
street downward,

it was just blocked off,
it was toxic,

and this cloud
remained for weeks

and every sensitive
person was affected.

A lot of people saw
the Twin Towers,

not just saw on TV, like saw it,

and maybe even
found themselves running from it

if you lived on lower Manhattan.

And of course that had
a very profound impact

on the art of Dash
and his friends,

the love of detritus,
of garbage,

of ruins, those things
would exist apart from 9/11.

But given that fact, they have
another connotation as well,

something thrilling
about an innocent apocalypse

would come across in their work.

After the towers had fallen,

we all went down
on our BMX bikes

and we wanted to see
what was going on

and just see what we could do.

Everything sort of felt
like this photograph to me.

Actually,
I was in jail overnight.

But I remember being in bookings

and the towers having gone down,

and the CO's coming
and being like,

"The country's at war. You're
all in here indefinitely."

I remember coming out
and it felt different,

it felt like you had
descended into the catacombs.

I have no idea
if that moment in time

marked something
for our personal psychologies

or you know, us as a group,

but we always lived
in sort of a space

that felt disastrous.

Like we were living
at the end of the world.

The paper, I think
both of us were shocked

by how paper survived.

We were totally abandoned
there for a while,

but what happened was the
eye of the world came there.

And New York starts
changing after that,

there's American
flags everywhere

and then it becomes America.

20 blocks below 14th street,
that nobody wanted to be into,

two years after 9/11
and it becomes the one place

that everyone wants to be at.

♪ Through the perilous fight ♪

♪ O'er the ramparts we watched
Were so gallantly streaming ♪

The world is coming
to an end one day

and we all got to stay strong
because this is God

sending a message to the world,

now we got to stick together
and help one another,

ain't that funny?
My name's Steve, yo.

Around 9/11,
we were all together

and in that bubble,

when the outside world
was just crumbling,

all we could do
is party anyways,

and create this amazing family

and I felt it was so much
like the Great Depression

but it was kind of
a moral depression,

my security was these people.

Like 365 people came that day,

it's a lot of people
and at the same time,

I'm just like, every single one
of these people

has a reason to keep moving.

I mean that's the thing,
what keeps you moving,

you know, what moves you?

Things that last,
like what lasts, of everything?

It's that community,

there's nothing more powerful
than community.

Where are you guys walking?

I'm walking to Alife.

I'm walking
to West Broadway and Canal.

I was taking
pictures for a long time

before I show anybody, you know,

like taking a lot of Polaroids,

I have boxes
and boxes in my house.

'Cause at the time it was
like illegal life, you know,

like stealing drugs for money,
all this shit, you know,

like not making any sort of
legitimate funds or anything

not living very good either.

And a lot of people were saying

"You should
show these pictures."

"You could sell them,"
blah, blah, blah.

But for me it really felt like

an impure gesture to
submit this to the world.

Like, this is not for anyone.

This is for us.
And it's too pure of a moment.

It's hard to proclaim
yourself, you know, something

when you don't necessarily
understand who you are.

Graffiti only touches
upon art in a way.

And it's sort of
a dirty intersection

but there was an Avenue C
apartment at some point in time.

And that place was
like the inside

of his mind turned out.

And you may have even been
there at some point in time.

It was a little apartment.

It had, I remember these
like little arched entryways.

The things that were
on his wall were predictive

of what his work
would actually become.

I mean, you've seen
Dan's recreation.

That's where
I started being like,

"You know all this shit
is like art, right?"

I mean, things would assemble,
you know,

like literally sculptures
would come together

and I was like, well...

I just don't know what
else to fucking call

like a birdhouse that
you dragged into your house

that you collected
crab claws and put them...

arranged them around
the birdhouse as swastikas.

It's just like,
that's a sculpture.

I was going to call that
"The Heartbreak Hotel"

and then I was going to
call it "The Sugar Shack".

And then I settled for
a pretty crazy name,

but it's called "I Can't
Even Imagine The Moment

The White Men Land
And They Fall Into Nothingness."

It's interesting,
I think, like I said,

in collecting all of this
ephemera and items, you know,

that it helped him
to define himself

more so, you know,
or create a persona

that he felt more comfortable
with or more at home with

than you know, SACE,
you know, graffiti writing Dash.

It's like 50 bucks.

I was like, "40."
He's like, "Deal."

He's like, he's like,
"You're making a movie?"

"Is that a prop?"
I was like, "Hell yeah."

Did you walk
down 6th Avenue with that

like on your shoulder?

He gave me a garbage bag
and I did walk down 6th avenue.

Dash's first show
was at Rivington Arms

and they gave him the
space and he filled it up.

He put the disgusting
couch in it.

These are
all Dash Snow's things?

Yes.

This leather,
just like the grossest,

like middle America dad couch,

or like something that
was easily cleanable

with like a rag of some sort.

And there was this guy
named Papa Smurf

who was always
around the Lower East Side.

You should get
a job making people nervous.

Hey Cheryl, this is Papa Smurf.

My man.

- Papa Smurf.
- Hi, how are you?

Cheryl.

And he invited
Papa Smurf to the opening

to sit on the couch.

I think the gallerists
were like appalled.

♪ It might be our last chance ♪

But that was like,
all my photos since I was 16 years old,

narrowed it down to that.

♪ It might be too late
For me to say goodbye ♪

♪ And it may be too late to
watch this sick old city die ♪

♪ Going on the road ♪

♪ Yeah, I'm going
to try to say ♪

♪ Sick city so long
Goodbye and die ♪

I always thought
that these zines were actually

the most complete expression
of his work in a way,

that it was most suited
to book format

which is strange
because a lot of his time

was spent pulling things
out of books effectively

or out of magazines
and out of the papers.

He would always make a copy

and he'd find me
and bring it to me.

"My Mind Has Finally
Accepted That It's Right".

Volume one.

And I can't remember what
sequence these came in.

I think the imperative
of art is, well,

John Baldessari would say
it's not to be boring

but it is to change
our view of the world.

And you're not going to do
that without troubling people.

I think for those like
Dan and Nate and Ryan

who had formal training,

I think that the punk aspect

of what Dash brought to
the table in that he,

he didn't have any
of that background.

And he didn't know
what he was doing

or maintained that he
didn't know what he doing.

He maintained that he
didn't give a fuck either.

So that was a good sort of
chemistry for those other guys

who'd literally just come out
of school essentially,

and were steeped in all this
sort of art historical knowledge

and practice
and all the rest of it.

And there was Dash saying,

"Fuck it,
you don't have to do that."

"You can be an artist
and roam the streets."

That was what I think
we don't have now.

There was a very sort of
feral way of roving in packs,

and discovering things
and discovering the city

and finding new ways
to cause trouble.

Are you nervous?

Not nervous, but we are
going to get a lot of people.

Art is
generally collected by people

who have followed the rules,

and they have relatively
conventional lives.

But a number of them really
wish that they could be

like Jean-Michel Basquiat
or Dash,

that they could let it all go,

that they could drink
themselves into a stupor.

They could get high.

So collectors do like the idea

of collecting the work
of misbehaving, bad boy artists.

I just got here.

- Really?
- An hour ago.

You've had a long journey.

Me and Dash traveled,
like the world together.

Strangely, there's
weird pressures put on

by the art world to be crazy,
to live outrageously,

to do a lot of drugs.

In somebody like Dash's case,

you would show up
in fucking Tokyo

and there'd be cocaine
waiting for you.

And you thought, "Well hey,

I thought this was like
really hard to get here

and like super illegal."

And they'd be like, "I know."

They would be so into it.

You know, like,
"We're going to get crazy."

And also these
galleries would fly out

your whole entourage just
to make it more exciting.

What up, dude?

What's going on?

I'm just running
into Nate right now.

But that's who you
ended up hanging out with.

You'd never really,

you didn't go to these art
dinners and spread out.

You still just stayed
in your little circle

and talk shit about
this art dinner,

"Hey, who has drugs?"
And that kind of a thing.

You know, that shit's
fun for a night or two,

but eventually you just feel
like you're being put on stage

and playing a part.

The bad boy thing is
a disruptive thing,

blaming them for that behavior

and that attitude is
a little bit unfair.

If the fact that they
happened to be all white

and predominantly male
is something

that wasn't their
responsibility,

but it was probably
the people like me

and curators who supported them.

I think we take
responsibility for that.

You know,
I remember that New Yorker magazine

or New York magazine
where they were trying

to follow around
Ryan, Dash and Dan.

And Dash hated that shit.

And he was avoiding
it like the plague,

but of course
in avoiding these things

they get to write
whatever they want.

So, he was kind of
screwed either way,

and they wrote
whatever they wanted.

And Dash hated the article.

He didn't live
for the limelight, that's for sure.

Was it fun to be on the cover
of New York magazine

with Ryan and Dan in bed?

Maybe in a way,
it's a cool cover.

And the story was horrible.

It created a distorted story

of this scion of
a wealthy family

who was slumming
in the art scene.

Suddenly he's propelled
to the front of the pack

in the art world.

You know, suddenly
getting all the accolades,

show at the Whitney,
the auction results.

His collaborators are
suddenly right there with him.

You know, his mother
is someone, his grandmother is someone.

So what?

You know, I think Manet was,

his mother was the goddaughter
of the King of Sweden.

Do you not like Manet?

He was a rich kid, too.

All these
people who didn't know him

have invented some false image

of sort of some
pretentious trust fund kid

who was playing being an artist.

It's something
about Dash rebelling

against his rich
art world family

by becoming a rich artist,
sort of backfired.

To be in the press was to
also be kind of connected

to his lineage.

And I think it was painful.

This was kind of the beginning

of the crew being brought
into the forefront.

Now this photo is in,
what is it, the Whitney?

Permanent collection, right?

Yeah.

And I'd say, who would've knew?

You know, we were just
a bunch of fucking animals.

And I feel like they've gotten
obsessed because, you know,

these guys blew
to meteoric proportions

in a short amount of time.

All of a sudden,
no one's writing about Dash.

They're writing
about some phenomenon

that Dash represents to them.

And it's like, he's like
lost in all the writing.

I think he thought
that that was a great quote.

That was a review of his work.

Yeah.
But I think he saw the humor in it.

I was there the day
that Dash made the film

of all the male hustlers
jerking off onto the lightbox

They gave the hustlers plenty
of drugs, plenty of magazines

and DVDs to watch
to get ready to jerk off.

Dash came to me at some
point during the day,

he goes, "I don't know what's
wrong with these guys."

"They're not professionals."

"None of them can
work under pressure."

'Cause none of the
guys could get hard,

because they had
done too many drugs.

But Dash was really upset.

Like a director, like,
"I'm working with amateurs,"

I remember him saying.
It was great.

♪ Your city's a sucker ♪

♪ Your city's a sucker ♪

♪ Your city's a sucker ♪

- One dollar, one dollar.
- One dollar.

Our military
at home and around the world

is on high alert status.

We will do whatever
is necessary to protect America.

We will show the world that
we will pass this test.

God bless you.

I think we just had gone
into Afghanistan.

The first thing that comes back

when the country's
been demolished

is probably the drugs.

And I thought, "Okay,
I bet in like a year or two

it'll be heroin," because
that country produces it.

And about a year or two later,
everyone's doing heroin.

I was always an uptown guy

like C train all the way,

cocaine to the
motherfucking brain.

But these guys were
taking the D downtown

and I wasn't a dopey guy.

The Lower East Side was,
you know. Avenue A was fine.

B eh, C eh, D don't go there.

Like, we used to
go buy drugs on D.

We used to buy drugs
on C at the bodega.

I used to buy cocaine at
a pet store on Clinton street.

I used to buy weed
at a juice bar on St. Mark's.

Laundromat, the laundromat
on Avenue C sold dope.

Everyone hung out here

'cause there was... we just
went to the bars around here,

you know, and everyone did coke

and everyone's just
like hanging out

and drinking and doing coke.

And it was just like
so normal and fun.

Imagine 15
dudes in a studio apartment

just doing coke in August.

The party was real,
you know, like it didn't stop.

It was every night.

Every night, I mean,
as far as I remember

it was every fucking night.

I mean, yeah.
IRAK's drug of choice was more.

That was when the
heroin started coming in

and then it became
like, you know,

it got glorified in our crew.

Became like how coke was.

They were like hanging out
with like the heroin bags

and the bundles in their mouths
and all that shit.

And I was just like,
"This is terrible."

Like, "This is going
nowhere good."

All the heroin
didn't come until they started

getting a little
buzz to their name.

I remember ID doing
a story on the IRAK crew

and Kenneth shooting it
for Mass Appeal ,

you know, and all these guys.

And Kunle being one of
the 50 most beautiful people

in Paper magazine,

like people get gassed.

But I also feel like
for someone like Dash,

who didn't want the
fucking attention,

he wanted to be like
underground always.

This shit is crazy.

That innocent, free spirit

that Ryan captured
in his photos was gone.

And it went dark.

We'd be hanging out
at his place on Bowery

when it was his studio,

and he would like roll
his sleeves up and go out.

Even though it was totally
obvious what was happening.

He didn't mind talking
about doing drugs.

I'm already out of
my mother's will.

I got nothing.
I got no reputation to keep up.

You know what I mean?
But at the same time,

I wasn't really trying
to show that.

And then I was like, "Look,

if I'm going to show
everyone else,

I got to show myself too,"
you know what I mean?

I'm not, I'm no shiny guy.

You know what I mean?

I'm not, it's rough.

And it's like, a lot of
people will see it and...

or have seen shit and be like,

look at me
fully differently afterwards,

but I don't... you know,
that's what it is.

I'm not trying to be
someone I'm not, you know.

That's what happened
and that's how it goes.

You know, I'm not scared.

Well, I found a lot of
kids taken away from it.

I turned into a parent,
I turned it into a grandpa.

I turned into something,
you know...

disapproving the behavior
because I saw, you know

so many people dying and stuff.

And I was... and I was saying,
"Hey, wait a minute,"

you know, "This is
about self-destruction."

You know, "This is not heroic."

I have to say, I have
no regrets in general,

but definitely been rough times.

You know, I'm not happy.

I wasn't happy for a long
time being where I was, just...

That's why, like, I wanted
to make a point to say

that I'm not trying
to glorify anything.

So I worshipped,
you know, self-destructive behavior

and made a lot of
great work out of it

and so did Dash.

Like Larry's books,
I have a few of them,

the ones I want
are too much money.

And like, they only
made a few or whatever

but I've seen all of
them and they're rad

and I'm sure he's not stoked

on some of those pictures
of himself, but he'd,

I'm sure at some point
he had the thought like,

you know what I mean,
bite the bullet or whatever,

like just do it. You know?

And like embarrassment
is whatever.

I'm not embarrassed about
anything I've done, you know?

- Even when they were...
- They worked, yeah.

...the most fucked up
they could be,

they were documenting it
some way, you know.

That's what I did.
No matter how fucked up I was,

no matter what I did in my life,

I always made work out of it.

And I guess that's
what I was saying

about kids worshipping
this self-destructive lifestyle.

I was the same way
when I was a kid.

I mean, my heroes were junkies.

You know, my heroes,
you know, were heroin addicts.

You know, they say that
nobody wants to grow up

to be a junkie. Well, I did.

And if you have everything,

if you have everything
that you want

and you can't get clean,
then it'll kill you,

you know,
or you'll kill yourself.

It says, "Dear Dave,

I can't tell whether I love more
you or this record."

Where did he send that?

He send it to you or
brought it to you?

Yeah, it came with
a pack of heroin.

And then when I told him
he was like, "Don't do it."

He's like,
"Don't do it, don't do it."

"I didn't mean to."

"I keep that in all
my favorite records."

That's sort of the stash spot,

he would keep his stash
in his favorite records.

You hate L.A.?

My dad, he started out
as a musician

and a really good one,

but he got into this
drunk driving accident

and he crashed into a train

and lost most of his
fingers on his right hand.

So he couldn't
play guitar anymore.

And that's when he started

really spiraling
into his addiction.

And he was in and out of that
during our whole lives.

He was this enigmatic addict,
artist, musician

and I think that definitely
had a big influence on Dash.

He was his dad.

And you always look
up to your dad.

Oh, and it had
electricity and everything.

Yeah, yeah, yeah.

Being free to Dash
was everything.

And with addiction
he did not feel free.

He felt prisoner
in those moments.

You know when Dash
was good, he was so free

he made other people feel free.

He saw the beauty in everybody

and they felt beautiful
when they were around him.

We met in 2006.

Oh, this is a good story.

We should have this.
Is it recording?

- Yes, it is.
- Okay.

So, I'll tell you the story.

No, no, no, no, no.

- I'll say the story.
- So what's the official story?

The official story is,

so there's three sides
to every story, right?

The truth, the man's version
and the woman's version.

Well, I'll consider
the man's version

the truth at this point.

I don't know how I got there.

I don't know what,
it was some party.

And she was out with,

she was going out with
another man at the time.

Not quite as manly as myself.

She was wearing this really
foxy black tight dress.

And I was just like, like,
you know in The Godfather

he's walking with his bodyguards

and he sees this woman,
this great woman.

And he goes...
and the bodyguards, they say,

"He just got hit
with a thunderbolt."

It's a sort of like this,

I was really like...
before I did it with her,

I jerked off so many
times thinking of her,

that kind of thing, you know?

So, I'd see her and
I was just like...

and she wasn't into me.
She wasn't having it.

- And I went up to her.
- That's not true.

You weren't having it.

'Cause I went up
to her and I said...

I'm not normally so blunt,
but I looked at her and I said

"I'm not leaving this party
without kissing your mouth."

"I'm not leaving
here without a kiss."

And she wouldn't do it.

Well,
the guy I was dating was 10 feet away.

But I didn't care, you know.

I was trying
to have some respect.

But you wanted to.

I did.

So, that was kind of that.

And then I had to go

and I didn't see him
again for a long time.

And then our friend
was doing a party scene

for a film she was working on.

And when I walked into the room

he was sitting right there
and I remembered him and I,

I never stopped
thinking about him.

He was so charismatic
and good looking

and I sat right next
to him and I said, "Hey."

And he was so happy.

He was like,
"Oh my God, it's you."

And that was it.

We just never left each
other's side from that day.

I'm so in love.

I'm so in love with this woman.

But I mean,
I've never had this before

and I've been with a lot
of birds and whatever,

but it's like really special.

I can hear everything.

It's everything.

Time, time, time, time, time.

When I met him,
his first big solo show

and the show was
nine months away.

It was actually called

The End of Living
and the Beginning of Survival.

And he was very
nervous about it.

250-something pieces.

And it was like
maybe eight months,

but I really sort of lost it

and like sort of locked
myself away a lot, you know,

like in my house
and just drink by myself

and listen to music really loud.

The gallery decided
without telling us

that they were going to
promote the opening night

with the flyer that
he did for a show,

with a suicide hotline
on the back.

His scary ass mug, yeah.

Oh, look at that.

And we played the opening.

It was like very
widely promoted.

Like I remember like
driving from the airport

and there was like posters
of his face on the streets

and all this shit.
I'm sure it freaked him out.

When we first
arrived that night,

there was like a dinner for him.

I remember walking into the room

and it was like
an art dinner thing

with a long table of people.

And I remember him looking
like extremely uncomfortable

and like sort of maybe
like embarrassed in a way

or something, you know.

Like, I'm sure these gallery
people were great to him.

And he got along with them fine,
but it was just something

that made him uncomfortable
about at all.

He always wanted to like hide,

and I could relate to that.

But I was doing some
dope and stay up for days

and just really like
working, working, you know.

He had a very particular vision

of how he wanted
it all to go down.

And opening night was packed.

A lot of people came through,
Tal R, Jonathan Meese,

Christopher Wool actually

skipped his own opening
that night to come

to the dinner with Dash.

And I was pregnant

and he had just come back
from Berlin to Paris.

I mean, it was really as if we
had not a care in the world.

He was doing all right.

How would you define success?

For whoever has
success, the person themselves

just being content with
what they've done over years

or over whatever span of time,
just like people are excited

about what you've done
can relate to it.

Or I don't know,
you touch someone, somehow.

Whether it's one or a million
or whatever, you know.

Dash and Dan
and all the central people

came down to Miami
during the art fair week.

But I heard that
the night of the opening

they had created
one of their infamous nests

in their motel room,
which involves taking

every telephone book
that they could find

from every room and public place

and ripping the pages to shreds
and creating their own version

of a hamster nest
and just spend the whole night

acting like human hamsters.

And I said to Dash, and to Dan,

"Could we do this
as a gallery show?"

Dash of course
was all up for it.

Then Dan and Dash would arrange

for their whole circle
of friends to come

and get drunk, get high,
whatever they were going to do

the whole night
and cover every surface.

There's some people
who think we should just

leave this open permanently.

You know, like the Walter
de Maria Earth Room

on Wooster Street.

We should keep this
as the New York Dirt Room.

Let me do it.

That was semi all good, right?

Man, it's hard to launch.

I wanted to
be very careful with safety

'cause the whole thing
was a fire trap.

I made Dash promise no smoking.

Then the other thing
is there's spray cans,

'cause it's really flammable.

"Just be super careful."

"Please trust me on this."

Unbeknownst to Jeffrey,
three, four in the morning

Dash's friend
Jason Dill was there.

He was skateboarding
and Dash grabbed a spray can

and a lighter
and made like a beam of fire

for Dill to jump over.

And I got some nice
photos of that.

Later when I edited the book,

I included that photo in there
because it was awesome.

And I remember when I presented
Jeffrey with the Nest book,

when it was finally complete,

him like flipping through it

and him stopping
at the fire ball photo

and like pausing being like,

"If I acknowledge this
I'm going to have to fire Kathy,

'cause she could have like
ignited a giant pile of paper

in the gallery left unattended
in the middle of the night."

He debated it.

And then I saw him
finally just turn the page.

Just pretend he hadn't seen it.

Keep going like normal.

I hadn't thought
about it at the time.

I was pregnant
and he was creating a nest.

He gave me this

and this is one of the proudest
creations of his life,

is this little picture
of his arm and little Secret,

it's his daughter.

He became a very interested
in documenting his private life,

rather than his outside life,
his social life.

He was with Jade and you know,

Secret was born
and all of a sudden it's...

you know,
representative of a life

that he's been going away
from forever and ever.

And then I think it must be made
even more complicated

by the fact that there's such
a deep love between, you know

father and their child.

I think that he was
happy for a while

and he loved being a dad,

and had gone to rehab and
was doing really well.

He tried to quit so many times
with methadone,

doing suboxone,
you know, cold turkey,

you know, he would try.
But I think as soon as

his brain would
clear out a little bit,

he would be tortured,

because the real problem
would be uncovered maybe.

And he couldn't deal with it.

Like he never talked
about his mom.

He'd talk about his dad.

It's tricky getting old.

But I feel like, strangely,
Dash felt like

he was losing control
over who he was.

There was a lot of
times when I felt like,

"Wow, this seems
really dark right now."

Like the people around Dash
are really not the best.

And then he
had new artsy friends,

that were also heroin friends.

There were certainly enablers.

Like here's a hotel
and here's some drugs.

It's really cool to them,

'cause they just discovered
it and they're selling it.

And they're like trying to
make sure that this carries on.

Are you still,
like, pretty friendly

with a lot of the
people you grew up with?

It was hard to
tell what the reason was,

why we weren't
hanging out as much.

But it was just as
much me as anything.

'Cause I wasn't
tolerating the heroin.

Luckily Jade was around.

I remember Dan said,
"Oh God, he called me from rehab."

And he had snuck into some room.

And he was underneath
a desk with a phone,

'cause you weren't
supposed to call anyone.

And he'd said to Dan,
"They're making me talk

about my whole life story."

I was living in the
studio and this old, old dude

who's like a life-long
heroin dealer

is calling me all day
and I'm like, don't call me.

Dash isn't here.

He doesn't want to talk to you.

He's like, "I just
wanted to know."

"He wants to talk to me,
believe me."

And, "He wants to talk to me."

"He's trying to get in touch
with me right now."

And he's like,
"Just tell him I called."

And I'm just like, dude.

He would tell us like
a lie and be like,

"I'm just going to
go out to do this."

And he would like, meet
the dude to get high and shit.

So, it was just like,
fucking really, really terrible.

But this is a pretty
damaged zine.

He sent me a loaded
syringe and it's real.

You know, actually,
I have his voicemails.

He would call and leave them.

So many times I've
been sitting for so many days

just like, "Fuck, when am I
going to get out of here?"

"This is the worst ever."

And like,
I feel like it's better

to like die on your feet

than live on your knees,
sort of thing.

Everybody was
living a similar lifestyle

and it wasn't until
Dash passed away

that people started
to look at themselves

and change themselves.

It was a real kind of
awakening for a lot of people.

I think the person who misses
out the most is Secret,

'cause he fucking loved her.

She didn't get
the Dash that we all got,

you know, which sucks.

I don't know.

It sucks.

♪ Psychedelic invocations ♪

♪ Of Mata Hari at the station ♪

♪ I give to you ♪

♪ A Java princess
of Hindu birth ♪

♪ A woman of flesh
A child of the earth ♪

♪ I give to you ♪

♪ Well, the hanging
gardens of Babylon ♪

♪ Miles Davis
The black unicorn ♪

♪ I give to you ♪

♪ The Palaces of Montezuma ♪

♪ And the Gardens
of Akbar's tomb ♪

♪ I give to you ♪

♪ The spider goddess
and needle boy ♪

♪ The slave-dwarves
that they employ ♪

♪ I give to you ♪

♪ A custard-colored
Super dream ♪

♪ Of Ali McGraw
and Steve McQueen ♪

♪ I give to you ♪

♪ C'mon baby
Let's get out of the cold ♪

♪ And gimme gimme gimme ♪

♪ Your precious love
For me to hold ♪

♪ The epic of Gilgamesh ♪

♪ A pretty little
black A-line dress ♪

♪ I give to you ♪

♪ The spinal cord of JFK ♪

♪ Wrapped in Marilyn
Monroe's negligee ♪

♪ I give to you ♪

♪ The Gorgon's mask
The wings of wax ♪

♪ Icarus falling
through the cracks ♪

♪ I give to you ♪

♪ The blood girl and her deity ♪

♪ And everything
that I believe ♪

♪ I give to you ♪

♪ I want nothing in return ♪

♪ Just the softest
little breathless word ♪

♪ I ask of you ♪

♪ A word contained
in a grain of sand ♪

♪ That can barely walk
Can't even stand ♪

♪ I ask of you ♪

♪ C'mon baby
Let's get out of the cold ♪

♪ And gimme gimme gimme
Your precious love ♪

♪ For me to hold ♪

♪ C'mon baby
Come out of the cold ♪

♪ And gimme gimme gimme
Your precious love ♪

♪ For me to hold ♪

♪ Yeah, c'mon ♪

Correct.

11:30.

Oh shit.

♪ Mother, I know your face ♪

♪ Father,
still hold your place ♪

♪ Sister, I'm around you ♪

♪ Remember me ♪

♪ Brother, I'm on my way ♪

♪ I'm visiting ♪

♪ Little sister ♪

♪ I know from where
Your brown eyes get ♪

♪ Your face on horizon ♪

♪ I cannot see ♪

♪ Your face on horizon ♪

♪ I cannot say ♪

♪ Mother, I wanna
hold your hand ♪

♪ Father, I need
you to be a man ♪

♪ Sister, if there's
any help in me ♪

♪ I'm always on my way ♪

♪ Little brother
Let's get on to travel ♪

♪ Let's get up to something ♪

♪ Little sister ♪

♪ Can I have this dance? ♪

♪ You're on the horizon ♪

♪ I cannot stay ♪

♪ You're on the horizon ♪

♪ I'm on my way ♪

♪ You're on the horizon ♪

♪ I'm headed the other way ♪

♪ Horizon ♪

♪ Ho-horizon, ho-horizon ♪

♪ On the horizon ♪