“And I feel” could just as well be “in a field.” All interpretations work when arranged with such polar emotion; two canons faced at each other, lipstick and blood, flowers and lava—ultimately, it’s a sense of being alive from a song about death.
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Like most work connected to MONEY, “Nijinsky and Diaghilev in St. Petersburg December” shows up without much more than a quote (“Death is just an illusion – a high wall. It is not the end. There is no such thing as ‘the end’. It is the beginning.”), under what’s presumably another alias (KRAKEN), in a video-only state which somehow succeeds in pulling threads of isolation and tragedy using little more than untreated, re-purposed movie clips, and a piano. There’s always a few gaps left to be filled, like how “the greatest male ballet dancer of the 20th century” who eventually spiraled into schizophrenia, Vaslav Nijinsky, and his lover whose fear of the sea contributed to their relationship’s demise, Sergei Diaghilev, conceptually interact in the mix. But that’s the beauty of it.
And while we’re on the KRAKEN channel:
It’s getting dark. The entire reason to be up there—suddenly AWOL, and now even the idea of being condemned to fourteen years under the sea sounds better than blindly flipping another switch. A fool’s moon slants by, and the next move is nothing—nose first.
‘YOU MAY ONLY SEE WHAT YOU HAVE ALREADY SEEN.’ F.P.
Graphic and, in equal dose, iconic, the latest activity on MONEY‘s feed dares you to look away, but it’s just all too consuming.