{"id":323,"date":"2009-03-23T15:42:21","date_gmt":"2009-03-23T15:42:21","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2009\/03\/concert_accident\/"},"modified":"2012-01-18T20:24:13","modified_gmt":"2012-01-19T01:24:13","slug":"concert_accident","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2009\/03\/concert_accident.html","title":{"rendered":"Concert Accident"},"content":{"rendered":"<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"armanAJ.jpg\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/armanAJ.jpg\" width=\"425\" height=\"267\" class=\"mt-image-none\" style=\"\" \/><\/span>\n<\/p>\n<p>\n<em>New York<\/em>\n<\/p>\n<p>\nThe Stone, last summer\n<\/p>\n<p>\nAfter the performance, I notice one of the screws that holds my glasses together is missing. Glasses still hanging together. During the hour-long set, somehow, tiny screw worked loose, jumped, disappeared.\n<\/p>\n<p>\nMetropolitan Museum\n<\/p>\n<p>\nLeaving to go across town, I lock myself out of apartment. No time. Must proceed to Grace Rainey Rogers and play recital.\n<\/p>\n<p>\nMiller Theatre\n<\/p>\n<p>\nComing home after playing, I leave my suit in a clothes bag hanging in upstairs hallway outside apartment door. Next morning gone. (Paul Griffiths discusses now missing suit in his <em>New York Times<\/em> review.)\n<\/p>\n<p>\nAlice Tully Hall\n<\/p>\n<p>\nWore aging pair of patent leather shoes. Backstage after playing, soles of both shoes are completely loose and separated from &#8220;uppers.&#8221; (Heavy pedaling?)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>New York The Stone, last summer After the performance, I notice one of the screws that holds my glasses together is missing. Glasses still hanging together. During the hour-long set, somehow, tiny screw worked loose, jumped, disappeared. Metropolitan Museum Leaving to go across town, I lock myself out of apartment. No time. Must proceed to [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1628,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[249,210,109,575],"class_list":{"0":"post-323","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-non-take-twoness","9":"tag-performance","10":"tag-performance-as-research","11":"tag-stage-fright","12":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/323","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=323"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/323\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1628"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=323"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=323"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}