explorer. Knowing | was an unbeliever, he once asked me, “What do atheists say during sex when they come?” “Oh, no-God!" | responded, interspersing those words with moans and groans. “Oh, no-God! Oh, no-God! Oh, no-God!" He suggested that | expand that concept into a stage piece, and it evolved into a ten-minute meditation on the relationship between religion and orgasms. Scott conducted theatrical workshops, and one of his students was John Densmore, the former drummer for The Doors. “I stumbled into the downtown art scene,” Densmore told me, “after a big peak in rock’ n’ roll. It felt as creative as the’ 60s. | now get off on the process, and it doesn’ t matter if it’ s fifty people at the Wallenboyd or twenty thousand at Madison Square Garden, it’ s the work that rings my bell.” Scott also produced Peter Bergman, of the Firesign Theatre. Scott thought that Peter, Paul and Harry would be a great title for an evening of political satire at the Museum of Contemporary Art. He asked the curator if she knew of an appropriate performer named Harry. She suggested Harry Shearer. Scott asked me about him. “He’ s brilliant,” | said, “let’ s do it.". And so he produced a completely sold-out series that was extended for two weekends. HOUSE_OVERSIGHT_015311