Midtown Magic with Dream Baby Press

March 08, 2024

It’s the night before my English midterm for “Writing New York” — I haven’t studied because I’m too busy hanging out with writers in New York. We’re in Tannen’s Magic Shop with drawers suggestively labeled “Ropes. Blindfolds. Sticky Stuff.” “When we first started Dream Baby Press,” starts Matt Starr, “We had three places we wanted to do readings: Burger King, a porn shop, and a magic shop. We're completing the trifecta.” He speaks with a certain grandeur that fits the century-old magic shop. Dream Baby co-founder Zack Roif notes, “There’s something magical (no pun intended) about seeing something happen in a place that wasn’t designed to function in that way.”

It’s real “New York Normal” in here — magicians, siblings of child actors, and artists who “pantomime American tragedy.” What does it mean to hold an air of prestige within a counterpublic? The pieces were legible yet insular, so while I felt alone in my unfamiliarity with the readers themselves, the casual oversharing rapid-fire trauma-dumping that characterizes alt-lit makes me see the readers, and makes me see myself in the pieces. Everyone is fashionably referential and painfully self-aware — sardonic but endeared by the naivety around them in a very “downtown goes midtown” way.

By Izzy Capulong
Photos Taryn Segal

We open with magic from Noah Levine, who says that tonight, we are all becoming part of “magic’s inner circle.” Meanwhile, I’ve never solved a Rubik’s Cube. He starts, saying, “You can probably tell I was a kid who had a magic kit growing up.” We can. “Did anyone else have a magic kit?” Some people shyly raise their hands. Fire offhandedly comes out of his fingers. Noah makes marbles appear in cups and other fun magical things. After the reading, Vilda and I admit to each other that we were looking for any sleights of hand. We couldn’t find any.

Ruby McCollister opens ranting about how the atomic bomb made men unable to have sex, saying, “The more violence released into the world, the more hysterical men’s penises get, softening like hysterical women in couches.” Bombs are phallic and most militarism is a hegemonically masculine display of power — there has to be some correlation. She then goes on a frenzied analysis of Al Pacino’s natal chart. His Mars in Gemini means he’s a sub. “Most actors are submissives,” she says. “I’d admit to my own submissive tendencies, but instead my aunt died.” We take a break from Al Pacino sex talk to analyze her late Aunt Nancy’s natal chart. Two of Aunt Nancy’s Big Three are Libra. The room groans in solidarity.

Ruby talks about her family affairs and I feel like I shouldn’t be allowed to know anything she reads. Aunt Nancy had an affair that resulted in something vaguely incestuous (not by blood, she just had kids with her brother-in-law). Her grandfather was a descendant of Mormon polygamists and “like a child who’s endlessly at his own cowboy-themed birthday party.” Her father was sued by the IRS for never paying taxes. She half-cynically half-lovingly describes her parents as “cultural dilettantes,” (the same attitude can be transferred to the downtown literary scene), but Nancy gets the debt down from $100,000 to $20,000 before going to work for the IRS. According to Ruby, “Nancy lived normal but in a perverse way.” Don’t we all.

Alex Auder was born in the Chelsea Hotel to superstar Viva. WAP plays as Alex walks up and we can’t stop it. From her memoir, Don’t Call Me Home, she turns to a chapter named “G spot” and reads nostalgically about puberty — she and her friends used to fight over who has more pubes and who has “cherry pits or peach pits for tits.” Bitingly funny, Alex speaks matter-of-factly yet leaves us howling. It takes a certain level of grace and maturity to be able to tell strangers about your most awkward “secret lusts.” We joke that there are no original experiences in girlhood. But once in her youth, Alex and a friend had pretended to be wives on the Western Frontier sleeping with their husbands, straddling Grandma’s horsehair pillows next to each other. A young Alex had called for a stop, shyly asking, “Would we really… do it next to each other on the wagon?” The friend takes a beat before solemnly responding, “We would do whatever it took to survive.” Perhaps there are a few original experiences.

There’s a whole cast of characters — Eastern European neighbors, would-be rockstars, and Alex’s hot math teacher, who she fantasized about mounting in his swivel chair. There was a 16-year-old Esther dating a 20-something-year-old Basquiat. There was a timely allure to age gaps, and Alex says “their coolness blurred their ages.” I’m a 20-something, people say I’m pretty cool, and I’m not dating any 16-year-olds. Vincent Gallo is a recurring character. Reuniting with a high-school aged Alex, he told her, “You’ve grown up so much.” There was a decade between them, so we groan at that. When Alex lost the role in Dangerous Liaisons to Uma Thurman, Vincent had her take off her top “to compare their bodies.” We all groan some more. Her next few misadventures involve trying to sleep with him. Alex believed she had to “pay a penance to use a penis.” She pretended be wowed by his rare guitar collection and freakishly pristine closet. The two sleep together after Viva, following a plastic surgery-related mental breakdown, tells Alex, “Go out tonight,” and in the same breath adds, “Also I might commit suicide.”

Peyton Dix picks “I’m Coming Out” as her walkout song. She starts with a booming, “Heterosexuality!” Someone guffaws. “Exactly,” she says in response. She talks about how gay she is: “Gay like Meg from Hercules” (received with multiple hums of recognition), gay like the monologue from Hereditary (which she and I recite together). She writes about her first male relationship after many years of lesbianism. “Lesbians need a vacation. Dykes need a day off. It’s a lot to be constantly checking in.” She emphasizes these last two words like she’s dated a girl who weaponized therapy speak. “Being a woman who loves women is the hardest thing you can do. It’s actually straight women who need allies, not lesbians.” The room is quiet, but I get it. With a thinly veiled brag about how she once had sex for six hours, she explains how, after multiple heavy relationships, she needed something “easy and simple. And what’s more simple than a man?”

“But,” she starts, leaning on the magic counter, “the thing about good dick — you get crazy.” Another hum of solidarity from the audience. “I’ve seen some of the best minds of my generation go insane over some dude named [redacted].” Here, I audibly screech. Peyton had just named an ex of mine. I’m floored. At this moment, Matt takes a particularly unflattering picture of me. Aside from getting her heart broken by a man, Peyton speaks of her worries: “What does this mean for my identity? Will I lose my pride gigs?” The piece ends when she hears back from her ex in an apology email, regretting how he was “hearing, not listening.” “This man sounds like a lesbian,” she says. We laugh. “I can taste what it feels like to be loved by him.” We stop laughing. Peyton ends with a consideration that she might be bi — “Bi as in Obama. Bi as in that one interracial Bedstuy couple. Bi as in ‘I went to film school.’ Bi as in, ‘It was Emerson College.’”

The Rubin walks out blindfolded. Feeling his way around the counter, he says, “Someone will ask me, ‘Isn’t it easier to do magic without a blindfold?’ to which I’ll say, ‘Who’s talking?’” I make a noise of approval. He (attempts to) point at me, saying, “This guy gets it!” Perfect situational irony. The Rubin materializes a lit joint. Nice. A few tricks later, he turns a paper crane into another lit joint. I think he just wanted to smoke inside, but what’s more magical than that? He throws a bunch of cards into the air and makes a funny performance of supposedly grabbing the wrong card midair, to which he yells, “BEHOLD,” does an impressively high kick, and conjures the correct card. He’s like if Jack Black were a magician.

Mackenzie Thomas is noted to have gotten an 11 on her ACT Superscore. Cheers all around. She shares short diary entries that document everything — from her disgust at Bobby Flay’s face to the time Justin Bieber peed in a janitor’s bucket while saying “Fuck Bill Clinton.” The piece turns into a letter to an (ex?) lover, as she reads, “You texted me and then I got pushed into the intersection while on a Bird scooter. A woman in a t-shirt that said ‘Pugs Not Drugs’ carried me to the pavement.” We learn more about Mackenzie than we ever planned, as she tells us, “The first time I masturbated was to a College Humor skit on workplace dynamics. My first boyfriend never showed me his ballsack because he was afraid I wouldn’t like it. Whenever I sucked his dick, he’d tuck his balls in his underwear.” Not once since she’s started reading have we stopped laughing.

It’s less poetry and more documentation of growing up. Taking us back to elementary school, Mackenzie tells us of a boy who pretended to like her just so he could organize her backpack — “a radical act of love.” I wonder what bell hooks would say. Now, she writes of passing young girls and wondering “if they can tell that I was once young.” People laugh some more. I’m not sure if I can. She finishes realizing her own youth and dependence — from the homeless woman who gave her twenty dollars because she was afraid Mackenzie wasn’t eating enough, to the time she got her eyes dilated and went to the supermarket. “What awoke within me was a primal desire to be illiterate.” She wasn’t sure what was better — getting to ask everyone what things were, or her newfound access to “a helplessness that felt justified.”

Leah Victoria Hennessey reads what’s been dubbed “homoerotic fanfic.” The Guardian called it “quite literally the end of civilization,” so I have high hopes. Leah shouts out Emily Allan — each piece is a poem Leah had written to Emily during the pandemic. Why? “Because we’re obsessed with each other,” as Emily says. During the pandemic, Leah would only leave her house to mail a poem to Emily. They came to dub themselves as the reincarnations of Lord Byron and Percy Shelley. It was as if they were separated by war (one of them was living in LES, the other on the UWS). It's literally a labor of love, as Emily had edited and made a zine out of every poem Leah had sent her. I want a love like that.

Each piece is short and cute. “What’s poetry?” Leah starts. “Correspondences between poets and the moon. Some genius gets it in his head to talk to the sun.” It’s love letters mixed with cultural commentary and fragmented musings, as Leah reads, “One more tenant of dogma: I love you.” “Being a romantic means cultivating a subordinate relationship to the muse.” The first few pieces are a high-up and airy, but as she continues, she reads quicker — less like someone reading poetry and more like someone realizing something: “What if this is really all we got? That haircut and someone else’s porn, masturbating to my rage for Brett Anderson.” With longing looks shot to Emily and an enveloping toothy smile, Leah drops her zine. If she’s blushing, I can’t tell. “This really is for Emily and Byron,” she adds tenderly. It feels like we’re intruding. “No one in yoga knows what I know,” she says, cheekily. And right before she finishes, she makes direct eye contact with me and says “Don’t tell anyone.”

Ena Da dances out saying, “Under every Elon Musk tweet is a gathering of idiots.” Instantly, I think of how I was blocked by Elon Musk on Instagram for “cyberbullying.” Ena says that we are no longer readers at a reading, but a council of wizards at a magical gathering. We play a game in which Ena has had “mortals from Instagram” submit their curses for consideration, and we — the wizard council — can either choose to lift the curse or let the curse remain. Among the mortals is not, however, Andrew Tate. “No amount of magic can help Andrew Tate,” says Ena. The first curse: “Mid pussy.” “In defense of the curse!” Ena shouts theatrically, “The stars must gleam against the night sky to shine, good pussy must gleam against mid pussy to shine.” That was poetic. Unanimously, we choose to not lift the curse.

One curse is perpetual lateness. Ena says, “We need people to be late and make us feel better about ourselves.” Unanimously, we agree the curse stays. “SUFFER!” yells Ena. Another curse comes from someone “who never has a normal amount of pens in their pocket — either five pens or none at all.” “In defense of this curse,” Ena says, “there is a penis joke in here, should they find it.” The curse stays. The next few curses include too-small earholes, broccoli-induced hiccups, and owners with cats who eat their earwax. Apparently, this last one is pretty common — four people in the room say their cat does the same thing. The last curse comes from someone who sneezes like a dad. In defense of this curse, Ena says it’s “healing for those with daddy issues.” When asked if we would lift this curse, the council yells out a resounding, “NO!”

Ivy Wolk reads a devastating piece about a girl she had feelings for — whether or not they were positive feelings is lost unto me (and Ivy herself, I think). Intimate yet relatable, it’s a piece about that weird intersection of love and hate. “I’m friends with everyone she’s a fan of,” she starts, “But the association doesn’t help if you have a bad personality.” How New York. “She tells me all my friends are just caricatures performing references they know, but then she quotes a book to me and I don’t tell her that she’s doing it too.” Clout will not save you. Your crushes are just as performative as the people around you. And your ex-friend seeing you on Instagram will not make them forgive you. These are all hard-learned lessons.

Ivy despairs rapidly. “She unfollowed me on Twitter because she ‘only wanted to hear about herself in the long-form,'” says Ivy. “But she wouldn’t like anything I had to write.” It’s a conundrum well-known downtown, the urge to self-mythologize and the neurotic curating that follows. Ivy’s piece is about wreckage — lost friends and purged desires. When you are forced to finish loving someone, what do you do with whatever you have left for them? “If she died, no one would tell me,” says Ivy. What do you do with that? Ivy doesn’t seem to know any more than I do. “I say I love her twice a day and I say it out loud. I think I love her because she hates me and we don’t talk anymore.” It’s sickening how much I understand her. “She said she wants to show up on my doorstep addicted to heroin so I can take care of her. I want the same thing. I want to hold her scabby arms and give her clean needles.” Oh my god. “I’m sure she feels normal right now.” Double oh my god.

Ronald Wohlman is described as “overly medicated, not seeing a shrink.” More cheers. He writes playfully, saying “I can’t find one person on the Upper West Side who will share their Ozempic with me, so I have to lose weight with an old-fashioned diet…I was eating three meals a day of nothing.” We laugh, silently wondering if someone needs to check on Ronald. Reading off massive playing cards, he writes of buying a chicken on the way to the gym, of the push and pull between temptation and the things we do to resist them. He eats the chicken on a bench on an island on Broadway. “If you drove past,” he starts, “You’d think, ‘How does New York City turn their middle-aged men into that guy?’” And yet, he licks each finger twice.

Ronald writes about going to the gym after, having shoved the leftovers in his gym bag. But no great hero story is complete without the ultimate confrontation — Ronald left his gym membership card at the bottom of the chicken bag, and the last thing he wants to do is broadcast to the whole gym that he has an entire chicken in his bag. Nevertheless, he persists, and with as much pride as he can muster, reveals the chicken to reach his card. The line of elderly Jews behind him let out a collective gasp — the chicken was not kosher. From his imagined thoughts of the people around him, to his third-person viewing of himself eating chicken on the island on Broadway, Ronald seems to be stuck in the cycle of shame and self-surveillance that we see writers so often engage in. I wonder if they know I'm going to be detailing tonight on my Substack.

Culture

The Club Is Coming to the Stage

We enter and make our way to what is approximately front left of the DJ booth, where we’re accustomed to dancing at clubs in New York. “So is this a techno club or a dance performance?” yells an uncertain participant in my boyfriend’s ear. He laughs, bouncing along to Ben UFO, and yells back, “It’s both!” The club has long been a hot topic in European contemporary dance but it is only now making its way into New York performance venues, largely through transatlantic tours. R.O.S.E. follows recent examples like Michele Rizzo’s HIGHER xtn. at MoMA PS1 (May 2024), (LA)HORDE’s Room with a View at NYU Skirball (October 2023), and Gisèle Vienne’s Crowd at BAM (October 2022).

Do these performances compromise the club’s spirit — a space idealized for its anonymity, dark lighting, and thundering music? The notion of the club as a utopian escape is admittedly just that — an ideal — because of how its intense conditions can create barriers to entry. Still, the club remains sacred for many, a place to forge connections and embrace an alternative state of being. Looking at how performances transfer this spirit to new settings reveals what aspects of the club are essential and those that aren’t.

Sharon Eyal, R.O.S.E. 2024. Photography by Stephanie Berger, courtesy of Park Avenue Armory.

Eyal’s dancers make their entrance. The lighting shifts from roving blue to yellow spotlights as Ben UFO’s tracks transition to more melodic beats. Clad in deconstructed lace Dior lingerie with dark red tears painted on their faces, the dancers move cautiously in a tightly maintained pack, slicing paths through the horde with hoof-like steps and jerky leg extensions. After around ten minutes of this controlled choreography, the dancers vanish as the lighting shifts back to blue and Ben UFO picks up his dubby beats. The club, as we knew it, resumes. This cycle of tightly executed movements and free-flowing club-goers repeats several times, each time emboldening the dancers to plunge further into the crowd.

Clubbing in a building once built for the U.S. Army National Guard on Manhattan’s Upper East Side turns out to be surprisingly successful — at least for the audience. What starts as an awkward, scattered group searching for their non existent seats gradually gels into an engaged, bouncing crowd that erupts in cheers each time the dancers enter and exit. Performance patrons who might never step foot in a club find themselves swept up in its potential for communion, moving in unison with fellow ticket holders. But it isn’t until the very end of R.O.S.E. that the dancers finally break free from Eyal’s choreography and join the fired-up audience in a brief moment of improvisatory movement with the music. By keeping her dancers at arm’s length, Eyal seems more interested in the club as a backdrop for her signature movement style than wholly as a space with meaningful stories to be told.

Michele Rizzo, HIGHER xtn. 2024. Photography by Cameron Kelly courtesy of MoMA PS1.

Back in May, I attended Wire Festival, a multiday electronic music event at Knockdown Center that had no shortage of organically united dancefloors. It attracted a crowd of seasoned ravers who were eager to celebrate the start of spring as they danced alongside DJs who played well into the daylight. I left Wire in an afternoon daze to see Michele Rizzo’s HIGHER xtn. at MoMA PS1. My sleepless euphoria only deepened as the performance unfolded, starting with a lone dancer who looked plucked out of the festival.

The dancer, dressed in sneakers, baggy jeans, and a tight tank top, shuffled slowly into the gallery, perfectly in sync with the looping bars of an understated electronic melody. Soon, other dancers, clad in the same staple rave uniform, joined him — each having traveled from Europe for the U.S. museum debut of HIGHER xtn., which premiered at the Stedelijk in Amsterdam in 2018 and quickly became a fixture at kunsthalles and festivals across the continent. As the score’s tempo climbed, the choreography locked into a 16-count sequence, which the dancers executed with precise synchrony. They remained intensely focused, never making eye contact with each other, as they sought release in the endless repetition of synthesized beats. Once the dancers reached their limit, they stopped the sequence and exited the gallery, one by one.

HIGHER xtn. used the focused daylight of the gallery to highlight the meditative release found in the repetitive movements that dominate dark dancefloors. The performance’s restraint brought more consistency and intentionality than Eyal’s all-encompassing club construction in R.O.S.E. Yet both performances offer enticing entry points into club culture for those who may not frequent raves. Rizzo’s ecstatic, hypnotic repetitions reveal how the club can mirror other meditative practices, while Eyal’s interpolation of performance and clubbing helped hesitant audience members blossom by the end. Still, both works overlook one of the most underappreciated aspects of clubbing — its potential for individual expression. HIGHER xtn.’s pristine uniformity especially risks promoting the outdated techno trope that there’s a “right” way to dance to electronic music.

Maybe this shortcoming is, in fact, a benefit. For habitual ravers jaded by one too many sunrise sets, it’s a reminder to return to the club with more intention. If you pause and peer through the darkness, you’ll see hundreds of people moving to the same beat, each with their own subtle variations. This collective choreography is a ready-made spectacle that doesn’t need validation in a theater or museum. And when the music shifts slightly, you can watch the ripple effect sweep through the crowd while feeling the new beat in your body. Maybe this small bit of magic is best left on the dance floor.

Culture

Real Slick, Jack: Psyche Organic Arrives in New York

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Culture

Porsche SCOPES Brings Art, Music, and Design to Toronto

The festival was a full immersion into Toronto’s dynamic creative energy. Day one set the tone with DJ collective Living Room, followed by an experimental performance by Claire Rousay that captivated the crowd. Jewelry designer Steff Eleoff unveiled her Porsche Taycan 4S art car installation—a bold fusion of automotive and wearable art inspired by her Sedona ring—while OVO Sound’s Naomi Sharon and DVSN wrapped up the night with powerful, genre-defying performances.

We witnessed SCOPES Toronto bridging underground and mainstream with day two’s lineup. DJ Korea Town Acid’s set paved the way for Angelphroot and Dameer’s debut of BASSMATI, a track blending South Asian influences with bass-driven sounds. Chippy Nonstop’s return to Toronto and Richie Hawtin’s extended set were milestones of the evening, proving that the city’s underground scene has a global resonance.

The final day featured standout performances from local pianist Harrison, Indigenous artist Tia Wood, and hip-hop visionary Sean Leon, who elevated his set with a live choir. Moonshine Collective’s film and musical performance explored themes of African utopia, showcasing art’s power to bridge culture and technology. Rising Toronto star SadBoi, who paused her tour to perform at SCOPES, further underscored the festival’s commitment to nurturing local talent.

Throughout the weekend, we experienced installations from artists like Mitsu Mitsu and culinary creations from Bar Mordecai, capturing the multifaceted creativity Porsche SCOPES brought to Toronto. This milestone 10th edition, open to all, allowed Toronto’s vibrant arts scene to thrive, underscoring SCOPES’ mission to celebrate local talent while connecting it to a global audience.

office had the chance to connect with rising star SadBoi ahead of the event. In our conversation, she shared insights into her creative journey and reflected on what performing and growing up in Toronto means to her and her work.

How are you, and where are you at right now? You told me you were traveling.

Um, I’m good, I’m feeling really good right now. I’m traveling back to Salt Lake City. I had a show yesterday in Seattle. I’m on tour right now with Coco and Claire.

How is touring life treating you? Do you like it?

I love being on the road. To be honest, I feel like I don’t know—like I’ve had good experiences and bad ones—but this time it’s really fun, especially with the people I’m surrounded by. It’s also the longest tour I’ve been on; I have about four more weeks to go. I’m trying not to think about how many days I have left.

Do you feel homesick?

Yes, because when I start thinking about how many days are left, I start to miss my dogs. I’ve just been trying to stay in the moment—I don’t even know what day of the week it is, to be honest with you.

Oh, sweet! What are your dogs’ names?

Jillian and Winston. I know, they’re crazy names.

You’ll be performing at SCOPES in Toronto, which is where you grew up. Do you feel like the crowd is different when you perform in Toronto compared to other cities?

Yes, I mean, Toronto just feels different because it’s home. Every time I come back to perform, something in my career has changed. The last time I performed in Toronto, people just wanted to have a good time, and I’m excited to perform back home again to see everyone’s reactions. I know it’s going to be different from the last time. It’s exciting to see your own growth. Toronto is a tough crowd, though. If we’re with you, we’re really with you.

So, they’re super picky? You have to gain their respect, or what is it?

I think Toronto people are in their own world, but when something really connects with them, they’ll lose themselves in the moment. But it takes something to bring them out of that. Toronto crowds are tough because even if they like you, they won’t show it outright until they’re really vibing with you.

It’s like a vibe check, right?

Exactly. They’ll enjoy your performance, but it’s hard to explain. When people visit Toronto, they often say, “Oh, you guys are so nice,” and I’m like, “I don’t think we’re that nice, we’re just polite.” Like, you can walk down the street, and no one will say anything, but it’s just our mannerisms.

You mentioned Toronto can have a moody energy, especially at night, and that the underground night scene there really inspires you. Can you talk more about what makes Toronto's nightlife so influential for you?

Absolutely, Toronto has this unique energy that comes alive at night. Similar to New York, there are the popular clubs everyone knows, but you need to find your niche—the people who know where the real parties are. I remember going to raves in high school yards, sneaking in because I wasn’t old enough. Events like Baby, Jerk!, and Yes Yes Y’all were pivotal, exposing me to DJs blending dancehall with EDM—something I hadn’t seen before. Toronto nightlife is moody and intense, but when everyone’s out, it’s like the whole city is alive.