Artist Profile #95: Lily Baldwin (New York, NY)

Hometown: Cambridge, MA

Current city: New York City

Attended an arts high school? The Cambridge School of Weston in MA.

College and degree: Bachelor of Dance Arts with a minor in Art History from University of Michigan. Another degree was hanging out in Detroit biking around and going to shows. (Kraftwerk live changed my world.)

Website: www.LilyBaldwin.com

How you pay the bills: I didn't want to wait tables when I came to the city, so I started teaching fitness and wellness. First I was a gym rat, and then developed private clientele. I co-founded a company with Toni Melaas called Hatch NYC. This teaching still informs my directing -- bodies reveal so much. Great character study. It's all about supporting people to do things they didn't think they could do -- teaching/dancing/directing. I also make creative commercial content.

All of the dance hats you wear: Dancer, Choreographer, Writer, Director, Editor, Producer. Ah!

————————————————————

Describe your dance life …. 

The first five years after college: 

Pounding NYC pavement. Saying yes to everything. Fancy fun free. Disgruntled. Mediocre shows and work. Brooklyn rooftops. Formative times that shaped my work ethic and built a diverse creative crew I still collaborate with today. And then 2001 happened.

Ten years after college:

Collaborations with my established friends. We all put in our time uptown and downtown. Everyone kept up the rigor. Metropolitan Opera. Doug Varone. Netta Yerushalmy. Joanna Kotze. Faye Driscoll. David Neumann. Noemie LaFrance. Trisha Brown. Then my world cracked open when I performed with David Byrne on his “Everything That Happens Will Happen Today” world tour. Afterwards I couldn’t go back to life as I knew it.

Music plays a main character. 

Now:

Film and all things filmic. Telling stories in unexpected ways. Using bodies to say what words can't. Making people feel comfortable in ambiguity. Visceral Cinema that WAKES PEOPLE UP: Seducing people and then corrupting them. Wondering if I can put the electric energy of a live performance into a film-product-thing that people all around the world can watch whenever they want.

On the set for SWALLOWED

Mentors/someone who believed in you: 

My 8th grade math teacher, Lloyd, who didn’t make me feel stupid for not doing things the way you're supposed to. Once I figured out my own circuitous path to making sense of things I felt smart and things got a lot more fun. My acting and directing mentor, Judith Weston. She teaches me how to take authentic risks with real stakes in front of the camera. I’m committed to making film-performance as unselfconscious as possible. June Finch teaches old school idiosyncratic Cunningham technique and reminds me to never stop pointing my feet and circling my head in syncopated rhythms, no matter how many hours I've been sitting in meetings and my body feels like a lump. Mark degli Antoni, my long time collaborator and composer who pushes me to continually mine ideas, and equally understands that nothing is ever done it’s just time to move on. Fritz Smith and Barbara Mahler: Our bony functional anatomy and the tailbone are manifestos of sorts. 

Major influences:

Books. All kinds. (Latest faves are Anne Carson, Raymond Carver and Sarah Gerard.) Photographs. (Latest faves are Sally Mann, Philip-Lorca diCorcia and Saul Leiter.) Long walks through neighborhoods all over the world. Subway rides. Murder She Wrote. Filmmakers: Maya Deren, Paul Thomas Anderson, David Lynch, etc.

How did you get into film? Any formal training? 

I never went to film school. When I was on tour with David Byrne I began taking snapshots of myself in hotel rooms, and making these raw, stylized documentaries of a place told with dance — or some reincarnation of it. On tour each day/week was a new place and culture. I wanted to capture the essence of a place with my body. I’d watch, then take on the posture of a people — not literally, but in a more intuitive way. I think I have about 9 shorts — raw stop motion experiments, in which I learned the basics of story and studied the rhythms of editing. What story can I tell with 50 still images? And how can the rhythm of movement make a viewer feel? This was the beginning of what I’m calling “visceral cinema." I have worked with composer Mark degli Antoni on all my films. My process involves extensive dialogue between picture, cutting, music and sound. Sonic sculpt narrative in surreptitious and hit-you-over-the-head ways.

I taught myself by making things and making mistakes, and by being surrounded by talented artists. Keeping the stakes high around me. I learned a lot by watching films -- studying and writing what I saw and then reading what I wrote I saw. My rigorous approach to my body and dance training undoubtedly gave me the backbone to follow through in uncharted areas where I knew nothing. I'm always setting myself up to do something I've never done. I don't know how I'm going to get to the other side. But then I do. "If you build it they will come." (Thank you Kevin Kostner.)

Still from SWALLOWED, with Joanna Kotze, Lily Baldwin, and Netta Yerushalmy

What is on your calendar for 2015?

I am in development for my first feature film, GLASS. It’s based on my experience of being stalked for 5  years and I’ve dug into the criminal case I developed with the NYC SVU to build a fictional film. GLASS is a thriller with stylized dreamscapes that depict peak moments of fear. This elevated genre film speaks to our cultural appetite for fantasism and its consequential blind spots -- projection, idealized selves and false intimacy -- so enticing, so destructive.  I’m also developing two episodic series, and in post production for my short film SWALLOWED, which is part of the upcoming web series COLLECTIVE:UNCONSCIOUS. I am also collaborating with Saschka Unseld on an Oculus Rift film told through dance called THROUGH YOU.

Can you talk a little about the idea of “moving dance into fresh territory?” 

I like to tell common stories in unexpected ways. How many stories are there out there? I think they all boil down to a select few — and it’s the nuance of how that makes a story worthwhile.

I use movement and “articulate gesture” to reveal what I call a subterranean truth. Bodies speak what’s between and underneath words. They can bypass alphabets, and communicate universally. This is a thrill and a privilege. I use dreamscapes when the world as we know it is too tentative. That which is feared, fantasized, and felt—but not realized—must be expressed. 

How do you find dancers? What do you look for in a dancer?

My dancers are my friends. And they find me.

Someone has to be distinct. It’s a knack really. I have a great community of artists and performers because of all the hats I’ve worn, and I like to draw from them. I like casting people to play versions of themselves.

When working on camera, dancers have to take down “projection." Emotions are so loud in front of the lens. It’s a matter of getting dancers to think their feelings and then translating a real feeling into movement. It’s paramount that emotional intention is clear. 

Pretty dance is just too easy. There has to be a reason someone is moving. Dance on camera should be a feeling or choice not spoken but lived through a physical vernacular.

Still from A Juice Box Afternoon

Three pieces of advice for aspiring filmmakers:

Be curious even if something doesn’t make sense. Trust your impulses and work hard at honing them like a sharp knife. When you think you’re done, break what you have, and build something from the pieces.

What equipment do you use for filmmaking - cameras, apps, programs? 

I started shooting simple stuff by myself with a friend on my 7D when I was making stop-motion films. But now I work with different DP’s and each project is unique to the circumstances and narrative. I have shot a lot on the RED camera, and most recently have been loving the Alexa. I want to shoot on film next. I have always edited with Final Cut 7, and now I’m learning Premiere. I work with colorists, sound designers and musicians — they all have their own software.

What does a typical week look like for you - in terms of training, creating, studio time, administration?

I'm a mad-hatter. Or perhaps a chameleon. I get to be so many versions of myself, and despite the sometimes craze of disparities, I'm doing exactly what I want.  I like being different versions of myself. Everyday is different and I find myself in random situations. I try for at least three dance classes a week and a swim. This past year has been a lot of development — writing and pitching — which is me at my keyboard, rolling around on the floor solving a creative problem while stretching whatnot, and in loads of meetings (lunches/coffees/drinks/office meet and greets/events). Filmmaking has me interfacing with many characters. My years of teaching and dancing in ensemble works  have been formative grist: reading and listening to people and their bodies applies to all situations.

Last live performance you saw that really inspired you:

The handball game in the park next to my apartment.

Last dance film you saw that really inspired you: 

Harmony Korine’s Julien Donkey Boy. The use of montage, dreamscape and deft editing of hand held footage was so musical.

Wishes for the future:

More of now, with one invisible day added to every week so I can make more.

Final advice to young dancers:

Training your body every day is a noble cause.  It doesn't get more human. It's a challenge to keep returning to yourself, your body, the ground and the mirror. There's no escape and no way to lie. You're either on your leg balancing — or you’re not. Not many people can keep this up and this makes you insanely special. Work hard (be kind) and don't expect to know where it will take you.

--------------------

Comments

[alioune mbaye]

LILY

ah LILY ! bavarder avec toi !
ça serait beau !
mais comment ça peut etre possible ? - çe
n'est pas possible, tu ne veux pas.

si, tu veux reçevoir messages d'amour, de
notes, des poemes, des choses comme ça, mais
partager egalement l'amour sans peur, sans
reflection ? tu as joue le jeu
des contraíres avec lequel je reste inunde
chaque jour ! et pourquoi ?
pourquoi accepter un poeme d'amour a
une station de television et pas la
reconnaitre ou refuser, pas remercier, pas faire
une plainte ?

pourquoi traiter un homme comme ça, lui nier la communication directe, mais profiter de
ses notes d'amour ? ses films aussi ?
pourquoi çe jeu de controle et quand il t'aide, te dit une verite essentielle que personne d'autre sur le monde
pourrait te dire - et pour ta sante, pour ton bien-etre - ça serait aussi une raison pour remercier !

mais votre monde de controle de la communication
digitale nie les príncipes, les lois de l'univers et vous payez pour ça.

enfin, ton amie netta a reussi a re-introduire la terreur
a moi (par mon frere), pendant que toi tu ne dis rien, ni une plainte, ni un mot. elle etait embauchee pourquoi ?

et enfin ma psycholgue andreia, elle avait raison, "n'entre pas dans cette machinerie de negativite et annulation, de tirer l'autre dans la fuite, ç'est dangereux pour toi".

le jeu etait toujours dangereux et ç'etait toujours moi qui
payait. toi qui choissisait.

et maintenant depuis novembre de l'an dernier
la meme chose. apres quatre ans. tu me fais travailler pour toi, n'est pas ? et tout le monde comprend.

TOAST ?

je n'avais aucune idee çe que çe mot
signifique. aucune idee.
ça ç'est une grande coincidence. je parlais
d'un petit dejeuner tard simple.

moi je ne vais pas negocier pour toi. jamais je vais negocier pour toi. ç'est pas mon travail, ni ma responsabilite. ç'est pas mon petit bulot. je suis pas ton esclave.
si tu veux arranger des projets avec moi et d'autres gens comme AL par exemple, il faudra communiquer
avec moi.
(je travaillais toujours comme ça)

ces jeus sont passes. oui j'etais stupide. gratter pour tes gardiens
et de plus je vais jamais patroniser une marque de biere, je crois que tu es confue, perdue entre la necessite
pour soutenir l'etablissement et (apparement)avoir une identite acceptable et la vie d'une artiste independente, et
tu as beaucoup de faux freres qui te feront des confiances en
ça, mais qui n'ont pas vraiment "les mains sales".

alioune (ps. maintenant j'ai receu un permis de residence pour 5 ans, graces a Dieu, amor por ti xxxxx !)

[lancelot squires]

dear miss baldwin i recently wrote this note regarding your film-making : i am
a big, big fan, but i am afraid i can't read my own writing sometimes, and so therefore i would ask you to fill in the gaps for when i don't feel very well like this, it is too much strain for my brain :

WITH LILY BALDWIN IT'S DIFFERENT. YOU DON'T REALLY GET THAT FEELING. IT JUST IS. THERE'S A DIRECT CONTACT WHICH IS SO FRESH AND CLEAR, WITH NOTHING IN THE WAY. JUST LIKE ONE OF THOSE PHOTOGRAPHERS WHERE YOU DON'T KNOW SHE'S THERE. IT JUST IS. YOU'RE IN THE ACTION.
WHAT'S THE TRICK? HOW DOES SHE DO IT?
SHE'S A FILMMAKER WHO MAKES THE EQUIVALENT OF CLOTHES WITHOUT SEEMS, OR ANYTHING WHICH IS NOT NEEDED. SO MANY FILM-MAKERS TELEGRAPH EXACTLY WHAT THEY ARE TRYING TO ACHIEVE, IT'S SO PREDICTABLE THIS WAS THEIR TECHNIQUE

perhaps you can also guess please what preceded the first line
thanking you heartily
&rgds. lancelot

[alioune mbaye]

THE DAY FERNANDO DIED

I arrived in Brighton on a bright, slighty breezy
Thursday evening.Wandered around the fringe of
the cycle-hub artspace until Fernando arrived opposite,
by his flat. The plan was to move. To move to a purpose-
built ground-floor apartment in an out-of-town project
with some support. It had taken a while. And now out of that
one-room flat almost above the all-night café. And not far from the pub where we'd danced that February when we celebrated my birthday at a Sibelius concert in Brighton Dome, and he had given me a yellow polka-dot cravatte. ( THE BLIND TIGER ). Fernando was stunning. Every time you saw him. And every time in a different way. Can a person be a painting ? And
each time a different one ? A reflection of the weather ? What was this ?

[aioune mbaye]

THE DAY FERNANDO DIED ( continued )

But each time also stern and determined, the way
my father was when he lost the bottom part of a leg. Serious. The only way you can afford to be when you're
facing a big illness, suffering, the mightiest challenges of your life.

"So what's gonna happen now in this phase of the project,
Simon, is ... he said ...

just like in the New York Times Article, Fledgling Grief, where Dad was to make Death Work . . .

well, we did work ...

in fact, i just couldn't figure how he got all those things
on top of the car on the Saturday afternoon . . .

"o ye of little faith " - our family chorus would have chimed.

ropes twisted, tugged and dragged this way & that, a veritabe cacophony of furniture items, almost tumbling off the roof, but not . .

must be magic . .

and i wanted to give up, the pace was relentless . ..

So we - Fernando and I and three women-friends, one way or the other, moved "lock, stock & barrel", equipped his new place in the space of a week . .

yet only on the Friday morning, immediately following my arrival, were we told to be ready to face the end . ...

and: "yes, the drug Ibrutinib, which we can't provide because it's not licenced in this country, may be of help."

[alioune mbaye]

THE DAY FERNANDO DIED ( continued )

Have I understood this right ?

In tests, which i found reported on the Internet, this drug had proved to be effective with two particular types of
cancer :

chronic lymphoctic leukemia

mantle cell lymphoma

Yet Fernando's condition is one of 60 substrands of the latter, mantle cell lymphoma, and therefore the drug might not work..

What's more, how do we read these reports ? how do we interpret what's really effective ?

a percentage of people in a small group tested lives so many months, or even years longer, sometimes a very long time.

well, i did my research over that weekend and into the next week . . .

Jansen wrote an e-mail back to me, explaining that Ibrutinib is only licenced in the Unites States and Israel . . .

how could we get Fernando there ? to a facility ? and to the drug ?

he's starting to fade
he's really struggling

he's very unsettled, with diarrhoea from the new drug they gave him . .

more & more blood transfusions . .

hours & hours & hours . .

i'm running down to the Green at the bottom of the hill in
Brighton and dancing there in the afternoons. .

his women-friends are taking care of a lot, really driving the project forward .. . .

a bed arrrives, the lovely huge reclining cream armchair he chose on the Saturday afternoon ..

in the meantime, on Friday evening, he's brought me to the most delightful Thai restaurant to watch Brasil play
Columbia ( 2-0 ) in the World Cup .. and the meals are like delightful little works of art - a perfect fusion of colour and taste ... so thankyou Fernando that was a great moment
that escape to the quiet haven ..

[alioune mbaye]

THE DAY FERNANDO DIED ( continued )

so well chosen .. when we thought our options
were exhausted ..

Fernando was an animal in his terrain. That's how he operated. simply ..

and he moved like one, cutting through the space, tapping
rhythmicaly, intermittently with his stick . .

grinning . . . and chin down, edging forward.

but sometimes being boss of himself, of the project, got to him,and i felt i received the brunt of some peeky poking, some prodding . . .

I know a part of this is the fact that we talk about material needs, we heed to that . ..

Comfort, Comfort, Comfort . . .

It's the same in the hospital ... even a little bit of guilt transmission.

Like bad boys reporting back to school, resuming paperwork ..

did I really feel that ? the little edge ...

these are the nature of our systems . . . work is always
going to reprimand us a little ... because after all it's work and we've got to improve .. .. .

and ceaselessly i act to soften the blow and advocate for the patient.

I know this only too well ..

what's missing is the light chat, the little musical talk ...

and funnily enough, do you know who did that for me ?

a delightful little black nurse called Lily at Long Island Jewish, who carried herself around like a little carousel or a one-man-band . .

24 hours i was in there for a check-up after my heart-rate dropped in Creedmoor.

[alioune mbaye]

THE DAY FERNANDO DIED ( continued )

6 am they're checking your blood and they do it roughly, like resentful workmen on a building site run by robots . . . totally distracted . .. or obsessed with speed . .

I fainted . . . it was in the family at the sight of blood, my brother told the social worker.

So i lay there in wonder for a good six hours that day at Lily . ..

This was the ideal, a musical carribean woman who knew how her musicality worked to heal, to soothe, to reassure . .

We really had a good thing going there .. and i was sorry when she left.

But the supply is patchy and inconsistent, even in a place
like Long Island Jewish.

Fernando looked quite admirable that first Thursday night, with the posture of a Roman general gathering his forces, in a red military-style tunic !

Six years he was in Brighton .. lived and loved . ..

and finally, on the last weekend of his life, i heard later, his friends smuggled him out of that stifled hospital
to a Brasilian church, where they all laid hands on him !

i made a small announcement as i left the concert at Sines on 22nd June : just a word for a great artist from Portugal who passed away today .. .

after dancing with Mama Keita and Las Yegros . .. i'm glad i could do that and find a way .. i didn't know what else
to do.

FERNANDO PERSIL died 2014

[alioune mbaye]

chere Lili parle ici Alioune ...... notre ami mutuel vous a envoye un message, autre part ! vous allez bien deviner, je crois ! Je vous souhaite bien et beaucoup, beaucoup de sante et de vie ! vous le meritez !
salutations,
votre ami fidele
alioune mbaye

[alioune mbaye]

Lili Allo Bonjour j'ecrive autrefois pour notre ami mutuel. il vous a ecrit encore une fois.le meme lieu. lui et moi nous vous remercions pour votre souhaites, votres bonnes intentions, votre esprit, neanmoins nous voudrions remarquer : nous ne savons a qui votre plus recente message sur facebook est dirigee, quand-meme la question merite une reponse ( vous croyez?): nous n'avons jamais reflechi sur cette question : ce n'etait jamais un objectif pour nous : mettre beaucoup d'opposes dans une scene, et ca semble aussi a nier le sens de l'idee qui precede la question, qui parlait des transformations. C'est possible que vous savez três peu de notre mode de travailler, c'est dans ce contexte-la vrai a dire, je crois,sans doubte, parce que le monsieur est l'auteur de tous les renseignements sur ca companie, dans tout le monde WORLDWIDE et de plus, il a dit, en anglais : "excuse me, but that sounds a bit like being lectured, love .... to WHOM is one SPEAKING? Reminds me of Monument O check it out if you like! Avignon In Toodle-Pip" Je ne sais pas ce que ca signifique, ce qu'il dit, mais il a aussi dit "Gaw-awne, ya noe ya-lavvs-mi, taeykke-it wivva-pinsche-saulte!ha há .. lecttured by the haute superlativeures!" Nous esperons que vous allez accepter notre contribution au debat et restons fidelement avec salutations pour votre sante et bien-etre nous vous souhaitons seulement bien sincerement Alioune xx

[alioune mbaye]

Chere Lili! Notre ami mutuel vous a envoye
une note. dans le meme endroit comme avant,comme
toujours. Je crois que c'est três importante, ce
qu'il dit
"You have no idea how you did what? What
are you talking about? I have no idea how
people can congregate, apparently, at great distance,
and congratulate each other before a public with
whom they feel obliged to
parade .... is it not like the joana newsom song?
however, is what i do that different,maybe it's worse,
noone is publicly endorsing what i say, what i claim.
is that the whole point of facebook ?
that we simply affirm each other's aims or status or
achievements or likes ?"
Ca il m'a propose enfin juste maintenant d'incluir. Il
voudrait une reponse directe s'il vous plait, il
dit qu'il te crois bien capable de faire ca ! "In the picture, is your foot twisted into that position? or are you playing The Girl with The Limp in the poem i wrote?" il a ajoute, qu'est-ce que je peux dire de plus,Lili ? est-ce-que tu ne crois pas de contribuer au desespoir de cet homme en pas lui disant rien? tu sais bien que tu peux et tu as le droit de lui desembaucher si tu veux! pourquoi attendre ? honbement respectueusement et fidelement
votre alioune xx excuse-moi, il m'a dit encore quelque chose : "why don't you arrange a middle-person?"

[alioune mbaye]

Allo Lili !
Ca marche ?
CHANTIERS COMMERCIELLES - COMMERCIAL SAMPLES (more to follow)
Please take this on Faith, Lili a dit Simon, il me
semble un peu emotionel, pourqoui tu lis son poeme et marque : Vu, mais tu ne lui parles pas?
Est-ce-que tu veux le telephoner ? mais excuse-moi, je suis qu'un "Go-between", it is not my business, ce ne sont pas mês affaires!
S'il vous plait,je vous invite a considerer ces propositions professionelles dans le meme lieu comme toujours, jusqu'a ca ne va plus,naturellement! - je rigole !
mais tout connait un fin, apres suive autre chose !
Nous vous souhaitons une bonne continuation &
une bonne journee
Alioune L'African L'Europeen L'Asiatique,
BLAISE ALIOUNE MBAYE

[alioune mbaye]

CURTAINS

one bar
in barcelona

i went into
because a crimson
curtain

blew

silently rustling
as if poked and heckled

by a huge invisible puppet
in the rafters

above the guests
who cackled and cussed below
repackaging their despair
for the weekend
in cigarette boxes
designer dresses
and jeans

they chomped nervously
expectantly
on their tongues

frozen in time
in the lack of it

trapped
in the gap
between
the train
from work
and the train
back

i sat
to be nearer
the curtain

alone
with the ghost
who loved me

as they
offered me
cigarettes

the curtain
kept flapping

[alioune mbaye]

allo lili
ici alioune !
Comment allez-vous ? bien, j'espere ! prenez
votre temps pour arriver a votres decisions parfaites, la
petite voix tranquille dedans de Vous ! Notre
ami mutuel vous a ecri encore une message, dans
le meme endroit .. et il a pris beaucoup de
temps,le plus possible
pour etre aussi sincere que possible .. je crois, base
sur ce qu'il m'a dit, que ca
peut Vous aider, vraiment ..et je ne dis
ca parce que je suis son ami,
JE CROIS CA .... je
Vous souhaite :
Bonne Chance Lili !
et merci pour votre grace ! alioune mbaye "CAJOLEZ LES FEMMES ET LES HOMMES,LES ENFANTS !"

[alioune mbaye]

"allo Lily"içi Alioune autrefois, nous avons regarde "Voice of Portugal" Dimanche avec Katarina Furtadoet une três jeune femme Ukraniene a chante "Non, je ne regrette rien!" Ç'etait três forte, ç'etait incroyable ; et tout le monde, il semblait,voulait chanter avec elle. Simon est três perturbe pour le moment, je ne sais pas si il est vraiment consolable ! Ç'est pas tres rigolo çe que tu fais avec lui,mais tout a fait independente de ça, il semble avoir decide que c'est necessaire d'exposer une chose : quand il rencontra ton amie maria pres de l'eglise st. mark il ne disait pas simplement : "Moi j'ai travaille avec x ..... il disait : "When i think of y
i don't know whether to burst into tears or jump for joy!" Cet obsession pour preuver qu'il disait toujours "moi je travaille avec x " ça ç'est une grande et petite paranioia americaine qui servait a lui exploiter sa vie et ç'etait pas du tout necessaire,il dit.Qu'est-çe-que tu crois, evidemment ça t'est egale, tu es tout a fait indifferente ? Nous te souhaitons une bonne continuation, neanmoins nous trouvons ç'est necessaire a vous rappeller : si vous vous trouvez dans le public chez un concert et vous animez le public egalement comme les artistes sur l'etage la seule difference entre vous c'est qu'eux ils sont en haut et vous vous etes en bas ! Et ç'est pas possible a preuver que vous n'avez pas travaille avec eux ! Ç'est une question simplement de l'interpretation et des limites de l'attachement aux mots ! ...... vous pouvez aller a un concert de neneh cherry et tout le public va dire apres : "Mais nous, nous avons travaille avec Neneh Cherry ! ! ! !" .. ..... et vous voulez envoyer tous ces gens-la au prison ? . . et vous croyez que neneh cherry veut ça ? Elle hurlera : "Ç'est une mensonge !!!" ? betes comme ses pieds, gai comme un pinson !!! il y'a deux notes pour toi aujourd'hui Lily, dit Simon. il ne veut plus lire ta publicite. Je regrette ça Lily, nous ne sommes pas bien aujourd'hui, mais au moins l'assiatnce sociale portugaise m'a donne €500 pour consulter un advocat grace a Dieu paix pour vous Lily et tranquillite Alioune Mbaye

[alioune mbaye]

allo Lil on a envoye une note comme d'habitude, alors un oiseau il te parle COM LICENCA! Nous avons reflechi sur les douleurs de beaucoup beaucoup de travail!bien sur parfois ç'est três três durr !!!et nous deux nous avons le luxe d'avoir plus de temps! peut-etre on a oublie ça .... çe jour-la ou tu etais au pied de l'escalier avec les autres eleves de COLLECTIVE UNCONSCIOUS tu semblais etre ecrasee deja un peu vide .. j'espere que tu auras plus de temps pour toi,bientot, pour plus danser et moins menager - un exutoire ! bonne chance lili tes s et aliouneX

[alioune mbaye]

BonSoir LILI !
il y'a des nouvelles pour TOI !
. . et de plus vont suivre, j'espere !!
ECLAT-TOI, LilY !!!!
Alioune

[alioune mbaye]

Allo Lili !

je suis a Paris .... et j'ecris et
j'ecris ... peut-etre ç'est une
grande catharse ; et peut-etre
ç'est necessaire ! je
crois que ç'est necessaire pour toi
lire les mots de s. et
bien reflecher sur çe qu'il dit : ça ç'est sa
verite et il souhaite çe qui
est bon pour toi : tu parles tantot de l'egalite
et des voix des femmes ; mais ça c'est çe que
tu lui nies : l'egalite : parfois
nou nous demandons çe qui arrive vraiment avec ta
conscience; et comment
tu dors la nuit

Bonne Chance
Alioune

*il y a 3 notes pour toi

[alioune mbaye]

Ça ç'est tout pour aujourd'hui, Lily ! :
Regardez bien pour securite, je t'en pris !
Alioune & s.
LIEU COMME TOUJOURS BIEN!
.

[alioune mbaye]

ÇA Ç'EST AUJOURD'HUi LILY !

un cadeau pour toi, j'espere !

s. a compose et prepare ça !

donc pourqoui il a laisse montrer l'image du
chat sans visage - demande a lui çe que ç'est qui l'a saisi
dans le moment ? je sais une chose : seulement : il etait
entoure des femmes dans le café de l'hotel ou demeurent
les journalistes du monde ( pas le journal le monde, car ça ç'est en train de devenir l'universe pour le moment ...... non DIVERSIFIER DIVERSIFIER DIVERSIFIER le monde you choose the next word please ich bin ueberfragt

[alioune mbaye]

felicitations !

alioune

[alioune mbaye]

LILY
toma boa conta de si. dá-te cuidado, pensamos
em ti. Alioune dit : protege-elle! nous
te souhaitons Bien !! Vacances
Famille et Bonheur, Bonhomie XXX

[alioune mbaye]

ps. nous t'avons envoye
un message merci pour alioune

[alioune mbaye]

allo Lily!Comment ça va?
une reponse t'attend (tu sais ou j'espere!)
et une echantillion
commerciale !
bonne chance ! Ailoune a tout a l'heure !
Bravo ! zigg-goot-goot-kramm-kramm !

[alioune mbaye]

allo lily chere lily
je suis preoccupe pour toi
auj'hourd'hui j'ai vu
ton entretien et je ne sais pas quoi dire ! .....on
parle três vite la-bas !?
envoye a toi maintenant les resultats
de quelques moments pas attendus et vraiment meme pour
moi surprenants, três !
refleche s'il te plait s'il n'ya pas
vraiment quelque chose de laquelle tu as
besoin de raconter a moi .... moi, je crois : oui
et c'est necessaire de te liberer de ça; et j'ai
vraiment lutte avec ça : je dis : pour toi relache

sentiments maintenant beaucoup
pour toi
pour ton bien-etre !
je voudrais t'embrasser avec affection! j'espere
un bon repôs pour toi, paix
et de reçevoir çe que tu te souhaites !
j'espere que tu ressents çe que je te dis en allemand !
auch,kennst du alexander kluge?
AMOR PRA VOCES Alioune-Simao x

[alioune mbaye]

considere ça un echantillion PLEASE

UNE NOUVELLE IMPORTANTE POUR TOI três, três, três três
confie em mim do-it also have a word with lamon-
toff for me please
and tel him you've changed your mind GOOD NIGHT
aliuone