DC's

* (restored)

Little Caesar Press (1976 – 1982)
Editor/publisher/designer/typesetter/distributor: Dennis Cooper
3373 Overland Avenue, #2
Los Angeles, California 90034

‘Dennis Cooper started Little Caesar Magazine in 1976 as a literary journal with an anarchist, punk rock spirit. From its humble beginnings as a skinny, low-tech zine dominated by poetry, it grew into a book sized magazine featuring poetry, fiction, portfolios of art and photography, essays, special theme issues, and interviews with a wide range of writers, artists, and pop culture figures (ranging from teen idol Leif Garrett to musicians like Johnny Rotten and Gram Parsons to porn director Toby Ross, to name but a few).

‘In 1978, Cooper started Little Caesar Press, which wound up publishing 24 books of poetry and fiction by young and established contemporary authors (Joe Brainard, Amy Gerstler, Eileen Myles, Peter Schjeldahl, Elaine Equi, Ronald Koertge, Gerard Malanga, Tom Clark, et. al.), as well as the first and only English language translation of Arthur Rimbaud’s final work, “Travels in Abyssinia”.

‘By the time the magazine ceased production after twelve issues in 1982, its contributors included such people as Andy Warhol, Lou Reed, Nico, Debbie Harry, Brian Eno, and many others.

‘These days, issues of Little Caesar are highly sought after and have sold on the collector’s market for as much $800.’ — DC.net

 

Books

Dennis Cooper TIGER BEAT (1978)
poetry

Limited signed edition w/ art insert: 15 copies
1st edition: 500 copies
2nd edition: 350 copies
3rd edition: 500 copies

 

Gerard Malanga 100 YEARS HAVE PASSED (1978)
Cover photograph by the author
prose poems

Edition: 800 copies

 

Arthur Rimbaud TRAVELS IN ABYSSINIA AND THE HARAR (1979)
Translated by Scott Bell
previously unpublished non-fiction

1st edition: 1000 copies
2nd edition: 1500 copies

 

Tim Dlugos JE SUIS EIN AMERICANO (1979)
Cover photograph by Richard Elovich
poetry

Edition: 800 copies

 

Ron Koertge SEX OBJECT (1979)
poetry

Edition: 800

 

Oswell Blakeston JOURNEYS END IN YOUNG MAN’S MEETING (1979)
Cover photograph by Peter Warfield
prose poems

Editions: 800 copies

 

Dennis Cooper, editor COMING ATTRACTIONS: AN ANTHOLOGY OF AMERICAN POETS IN THEIR TWENTIES (1980)
Cover art by Duncan Hannah
featuring Charles Baxter, Donald Britton, Peter Cashorali, Kevin Jeffery Clarke, Joel Colten, Dennis Cooper, Tim Dlugos, Elaine Equi, Cheri Fein, Bob Flanagan, Brad Gooch, Steven Hall, Steve Hamilton, Wayne McNeill, Eileen Myles, Anne Pitrone, Jerome Sala, Jack Skelley, Stephen Spera, David Trinidad, Diane Ward, Bernard Welt

Edition: 1000 copies

 

Elaine Equi SHREWCRAZY (1981)
Drawings by Steven F. Giese
poetry

Edition: 800 copies

 

Joe Brainard NOTHING TO WRITE HOME ABOUT (1981)
Cover art by the author
poetry

Edition: 1000 copies

 

Donald Britton ITALY (1981)
Cover art by Trevor Winkfield
poetry

Edition: 1000 copies

 

Kirby Congdon FANTOCCINI: A LITTLE BOOK OF MEMORIES (1981)
Cover photograph by Nita Bernstein
prose poems

Edition: 1000 copies

 

Peter Schjeldahl THE BRUTE (1981)
Cover and drawings by Susan Rothenberg
poetry

1st edition: 1000 copies
2nd edition: 800 copies

 

Tim Dlugos ENTRE NOUS (1982)
Cover photograph by Rudy Burckhardt
poetry

1st edition: 1000 copies
2nd edition: 800 copies

 

Amy Gerstler YONDER (1982)
Cover photographs by Judith Spiegel
poetry

Edition: 1000 copies

 

Ron Koertge DIARY COWS (1982)
Cover art by Bill Womack
poetry

Edition: 1000 copies

 

James Krusoe JUNGLE GIRL (1982)
Cover art by Henri Rousseau
poetry

Edition: 1000 copies

 

Michael Lally HOLLYWOOD MAGIC (1982)
Cover photograph by Lynn Goldsmith
poetry and prose poems

Edition: 1000 copies

 

Lewis MacAdams AFRICA AND THE MARRIAGE OF WALT WHITMAN AND MARILYN MONROE (1982)
Cover art and fold-out poster by Henk Elenga
poetry & prose poems

Edition: 1000 copies

 

Eileen Myles SAPPHOS BOAT (1982)
Cover art by the author
poetry

Edition: 1000 copies

 

Jack Skelley MONSTERS (1982)
Cover designed by Stephen Spera and Sheree Rose
poetry and prose poems

Edition: 1000 copies

 

Planned but never published

Steven Hall NEW AND IMPROVED (1983)
Cover photography and design by Sheree Levine
poetry

Brad Gooch JAILBAIT AND OTHER STORIES (1983)
Cover photography by Rainer Werner Fassbinder.
stories

Anne Pitrone THE POVERTY JOURNAL (1983)
Cover art by the author
fiction

 

Little Caesar Press Catalog (1982)
Cover art and design by Henk Elenga

Edition: 1500 copies

 

 

*

p.s. Hey. ** _Black_Acrylic, Me too. I haven’t been drunk in, god, decades now. Moorhens … so, hens or hen-like creatures who tend to hang around in the Moors? My only association with the word coot is that people in the US used to refer to aged adults as ‘old coots’, which I assume must be derived from that bird? ** scunnard, I’m sober as a church, although are churches truly sober? Excellent about the first pup and tiger book! How’s that project going in general? Things are good here. Mostly trying to be patient while going through the earliest phases and processes of making the new film. Good but antsy. ** malcolm, Hey, malcolm! Wow, has it been two years? Time is so odd. Great to see you. I just looked up that Chris Hanson and Hendrika Sonnenberg piece. Super nice. I definitely would have included it if my searches had made it pop. I remember you, of course. You’re highly memorable. Is it possible to see your recent work anywhere? It’d be cool to catch up. Thanks! ** Dominik, Hi!!! No big producer news, but everything seems to be on course so far. Take the rest, pal. If you feel like you need it, you do. No? Love trying to remember the last he was drunk unsuccessfully but making an educated guess that it was caused by the imbibing of more than one screwdriver, G. ** Sarah Palmer, Hi, Sarah. The screenings went very well, thanks. In our limited time, we did manage to see some art. A rather overly demurely installed but otherwise great show by Pope.L. Solid gallery shows by Cindy Sherman and Lorna Simpson. Okay show by Colin Self. Bad show by Martine Syms. A quite amazing retrospective of Robert Ryman at the Barbican. Really something. And the V&A have opened their storage building to the public, and that was unexpectedly really fascinating and beautifully installed. So not bad all in all. France does seem like it’s kind of behind the times on the gender parity issue. I wonder why. And on the lack of prevalence of smaller presses getting their due too. Hm. I’ll look up the Adriaen van Ostade piece you mentioned, thank you. I still have so much catching up to do on the Paris culture front, but it is exciting to know it’s out there. I hope your day is dressed up like 70s era Vivienne Westwood. ** Carsten, Thanks. It’s true how filmic experiments were at the center of all film way back then. Why people stopped thinking of film as a wild frontier is beyond me. See, you’re starting to like the fiddling. It’s addictive. But a truly pleasurable addiction. ** worm, Hi. Nervousness is a beautiful state, or at least from the outside, I guess. Yes, I will write to you today. And make it possible for you to see our film therein. Yeah, the huge flight, the cost, the jet lag … it’s a hell of a commitment. But it’s a goal. I don’t know Tongue Dissolver or Craning, but I’ll enlighten myself, thank you. Art school, nice. And you’re a writer even better. A lot of writers I most like went to art school. A zine sounds like a good starter for the writing, etc. As you can see above, I kind of started with a little literary press plus a literary magazine that isn’t covered up there. A fine comment, sir. I hope you got rewarded with good sleep. xo. ** Nicholas., Hey. Oh, wow, I was right? Back pat. ‘I will persist who even cares if anything knows’: words to live by. I’m right there. xoxo back. ** laura w., New Years is my least favorite holiday, but I don’t get plastered, and I hate parties, and I like getting good sleep. I’m very much a puzzle game guy, so, yeah. I like all the Zelda games, but I did spend much more time with the earlier ones. I recommend ‘Wind Waker’ too. My New Band Believe is going places. I want to have a coffee with that guy. He invited me to their Paris show on Instagram, but I didn’t see it until three days too late. Fuck. ** Jeff J, Thanks, man. I haven’t seen any sign of Zac German in a long time, so I don’t know. He put out a chapbook some years ago that was really good, but nothing since that I’ve seen. He doesn’t seem to be very active on social media. No, I don’t know Charles Bowden’s work. I’ll look into it, obviously, thanks. And, hey, you’ll be kind of ruling the roost here tomorrow and thank you again. ** HaRpEr //, I was never much of a drinker, and I certainly didn’t write while drinking. I tried on drugs, but it was mostly garbage. Clear-headedness is the key. For me too. Writing is plenty of inebriance. I wonder if my favorite writers were/are drunks. I don’t even know. Yeah, Steven’s big moment right now with the Nirosta Steel thing is amazing. Like I said, I hung out with him yesterday, and he’s kind of in shock about it. ** Steve Erickson, I don’t know The Hat Man thing. I’ll investigate. Could be a post indeed. Shit, the antibiotics weren’t magic. Maybe the wrong type? Are antibiotics like meds in that sense? We’re finalising the film’s budget, which I think we did last night, and now our producer will approach investors. I think we’ll only talk with them if they’re interested but want to know more specifics. ** Thom, Hi. Yeah, Steven’s a great guy. As I may have said, I was going to publish a book of poems of his in the early 80s — evidence above — but the plug got pulled on my press before that happened. He’s totally blown away and in a perpetual state of surprise about what’s happening with his music. It’s so nice, especially after he was basically just Arthur Russell’s right-hand man as far as anyone knew for such a long time. Yeah, I’ve been openly gay/queer since I was very young, but that part of my identity has never been all that important to me about myself or my work. It’s just there, doing wherever it does. I’ve never been someone who only feels comfortable around other queer people. I don’t understand that exclusionary tendency. It just doesn’t fit with me. Anyway, in agreement with you, in so many words. It was interesting, though, at Steven’s gig, the audience was your basic Pitchfork rocker crowd, and they seemed to know all of his songs. I think his record is really reaching all kinds of people. It’s very interesting. Yeah, I do do that in ‘Guide’, probably influenced in some way by Kristof. I love ‘Conker’. One of the best, most innovative games ever. Oh, great thanks for the link to the interview. I’ll go over and read it when I’m post-p.s. Everyone, Thom, who also makes things under the moniker Trees and Flowers, is interviewed with his cohort Fisher Thing about their new EP over at The Third Eye. You can read it and also listen to the EP itself here. Majorly recommended. ** Corey, Hi, Corey, good to see you! Thanks for the add. I’m good, just doing the film stuff mostly as per usual. Wow, about opening the theater, and, yeah, I can only imagine the complications. Great idea, obviously. I hope your co-host’s transgression was a fly by. And, yes, pursue your own stuff, especially if people are waiting. Exploit that! And take care down there. ** Okay. I was asked recently to restore this post up there about the small press I ran in the late 70s and early 80s, so I did. I also did 12 issues of Little Caesar Magazine too, but they’re not in the post because I don’t have the evidence on hand. Anyway, see if it’s interesting. See you tomorrow,

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Nick Alm Drinking Sisters (2014)
‘Nick Alm was born 1985 in Eksjö, Sweden. In 2007 he entered the Florence Academy of Art, where he also held a position as teaching assistant. After graduating in 2010, he received a scholarship to join The Hudson River Fellowship. The following year, he studied with the Norwegian painter Odd Nerdrum in Norway and in France before returning to Sweden. At present he has his studio in Stockholm.’

 

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William S. Burroughs Drunk Cop (1993)
‘felt pen and gun shots on paper’

 

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Cyprien Gaillard The Recovery of Discovery (2011)
‘Those are cases of beer in bottles. Considering Germany is the home of Oktoberfest, I am not surprised this passes for art. The artist is Cyprien Gaillard and his piece was meant to illustrate the point “Preserving a monument goes hand in hand with destroying it.” The most important bit for fans of the brewski may well be this; the pyramid was made from cases of Efes beer in bottles that was imported from Turkey. The boxes formed the steps of the pyramid and people at the museum were cut loose to climb the pyramid and open the boxes, then get hammered. From the after shots in the gallery, it looks like they did a very good job.’

 

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Luca Giovagnoli Drunk Woman (2019)
‘oil on canvas’

 

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Rare Conker’s Bad Fur Day (2001)
‘The morning after a night of binge drinking, Conker awakens to find himself in an unfamiliar land with a terrible hangover. Having no other choice, he begins a long journey with the goal of returning home to his girlfriend, Berri. While he is trying to get home, he also must avoid the minions of the evil Panther King, who wishes to use Conker as a side table leg; his right-hand man and the mad-scientist, Professor von Kriplespac, is tired of being bossed around by the Panther King and plots his vengeance. Along the way, Conker finds himself in a variety of situations, including having to recover a bee hive from Wayne and the Wankas, confronting an opera-singing pile of feces, being turned into a bat by a vampire, and even getting drafted into a war between the SHC and a Nazi-like race of teddy bears simply known as the Tediz.’

 

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Nicole Eisenman Drunk Girl (2019)
‘Paper pulp drawing’

 

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Banks Violette Not Yet Titled (broken beer bottle) (2005)
‘aluminum, wood, tinted epoxy, salt and polyurethane’

 

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Phil Penman Drunk in Midtown, New York (2018)
‘Silver Gelatin Print’

 

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Gilles Barbier The Drunkard’s Spiraling Thoughts (2012)
‘The metaphorical visual made of wax and mixed media displays a circus of objects ranging from dreamy stars and clouds to violent bombs and dynamite, not to mention the ominous crows and skulls.’

 

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Anastasia Klose The Re-Living Room (2012)
‘She is known for her lo-fi aesthetics with her use of iMovie editing software, generic fonts for text-based work and found objects such as cardboard or handwritten signage. The artist has also professed to drawing on the concepts of humiliation and embarrassment and has such her work has been likened to the antics of comedians such as Sacha Baron Cohen and the cast of Jackass. In 2005, Klose filmed a video of herself engaging in sexual intercourse with a fellow art student in a disabled toilet at the VCA entitled In the toilets with Ben, and later the same year filmed Mum and I watch in the toilets with Ben, where Klose and her mother viewed the former video together sitting on a couch.’

 

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James Hopkins Balanced Beer Table (2002)
‘Wood, lager and glass’

 

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David Claerbout KING (after Alfred Wertheimer’s 1956 portrait of a young man named Elvis Presley) (2015)
‘Silent, black and white projection, based on a photograph in a book that marks the transition from ordinary life to superstardom of Elvis Presley, then aged 21. That week in 1956, Wertheimer portrayed a young man who generously returns every shot the camera takes with an incredible calm, allowing the photographer to come very close and feel at ease with a ‘body’ that will soon transition from casual to monumental.’

 

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Tom Burr drunk emily (2014)
‘The title of the exhibition, “drunk emily”, is a direct reference to Emily Dickinson, a sublime poet and fetish character, who has become a mainstay for the artist. Now viewed as one of pop figures of American culture, Emily Dickinson spent most of her life in her room on the top floor of her father’s home, isolated from the society of which she was nevertheless an acute observer. For her, fantasy and imagination were the true means for acquiring an understanding of reality, and a way of conveying happiness.’

 

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Cosima Von Bonin Drunk Octopus Wants to Fight (2016)
‘B/W digital Photograph 16 1/2″ x 21 1/4″ edition of 70’

 

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Peter De Cupere DRUNKEN (2013)
‘In the performance ’Drunken’ one sees the artist as a loner sitting at a table. After drinking the red wine, he opens two drawers of the table. The latter are positioned opposite one another and as such create the shape of a ‘cross’ together with the table. By opening the drawers one sees that a part of the surface of the table also opens up and a space filled with red wine becomes visible. He fills his glass again from this sea of red wine, drinks and crawls into the table, laying himself down in the wine. Waiting on a state of complete drunkenness, not just orally, but physically sucking up the red alcohol into his body. Afterwards he crawls back out of the table and lets his behaviour and stature be determined by the influence of his being drunk. The artist finishes back at the table where he started.’

 

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Peter Paul Rubens Drunken Silenus (c1620)
‘Rubens had learned a lesson that Nietzsche was never quite able to get through his head. It doesn’t matter. It just doesn’t matter where you do it, where you live out your life. If the shit inside is solid then it will never matter. Alas, as we’ve already noted, the shit inside Nietzsche was anything but solid. It was runny.’

 

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Jen Schwarting Image Search (Drunk Girls) (2012)
‘I do choose photographs that appear to be one moment captured from a larger narrative. Something has clearly happened prior to the moment the picture was taken, and because most of the women are unconscious—but the photographer is necessarily present—there is something foreboding, like the potential for a dangerous aftermath. The thought or threat of rape, or some equally horrifying outcome, is apparent in some of the pictures. I like the word “still” because of its connection to narrative, and to Cindy Sherman, who is a big influence. I think a difference is that Sherman’s [Untitled] Film Stills and early centerfold images implied a constructed narrative, pointing to representations of women in film and advertising. I am going for something similar in terms of stereotypes, appropriation, and representation, but it is complicated by the fact that the photographs I’m using allegedly depict real girls, and further, that their images are being used without permission.’

 

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Maya Stovall Liquor Store Theatre (2017)
‘History reverberates in the present; the effects of white supremacy are felt by Black Americans each day with the immediacy of a neon sign glowing in a store window. Such windows are found at liquor stores across Detroit’s McDougall-Hunt neighborhood, where the artist lived and worked from 2012 and 2018. These liquor stores form the focus of Stovall’s “Liquor Store Theatre” project, a six year-long artistic and ethnographic study of McDougall-Hunt, which unfolds across a series of thirty videos, featured in the 2017 Whitney Biennial.

‘For each video, Stovall staged an unannounced, choreographed dance performance at the site of a local liquor store, and after dancing, interviewed members of her impromptu audience about their views on the neighborhood, their city, and its future. Scenes of these interviews and performances are cut together in the videos, the voices of Stovall and residents mingling with the dance’s ambient techno score, Detroit-style electronica. The interviews their reflect an intense awareness of Detroit’s binary representation in American media: either a dead metropolis, or a city on the comeback. In “Liquor Store Theatre,” Detroiters return the nation’s speculative gaze, contradicting assumptions and dispelling popular myths.’

Watch it here

 

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Kathy Acker Spread Wide (1982)
‘Raw materials from when Acker was writing Great Expectations and trying to leave America for London.’

 

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PIEK! Beer and Piss (2000)
‘A wall of 4 meter long, 2.75 meter high and 0.7 meter deep, was covered with blue tiles. On one of the long sides were hanging two urinals. On the other side, at ‘penis’ height, two beerhoses were mounted on the wall were you could pull yourself a ‘pislauw’ (the temperature of piss) glass of beer. By climbing the stairs it was possible to look in the installation. In the wall were 5 monitors and a beamer lying on the ground with the PIEK! and Niggendijkers in piss video-loops on them.’

 

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Tracey Emin Drunk to the Bottom of my Soul (2002)
‘appliqué blanket 76 3/8 x 63in.’

 

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‘At first glance, Alexandre Lavet’s “All the good times we spent together by” (2016) appears to be an empty beer can, drunk and discarded, slightly crushed. But closer inspection reveals that this wasn’t a regular beer can—and Lavet is no readymade artist. Instead, he meticulously hand painted the can, creating a perfect replica of a can of Jupiler beer. Lavet intended the piece as a tribute to memories of good times spent with friends.

‘The elevator technician worker responsible for throwing out the art was filling in for the museum’s regular technician. Certainly, if the artwork had been garbage, the technician would have been doing everyone a service by tossing it. Unfortunately, he instead was throwing out the work of the French artist.’

 

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Gilbert & George Drinking Pieces & Video Sculpture (1972-73)
‘Not as stridently provocative as their later, more celebrated works (or silly, depending on your point of view), G&G’s portrait (or “drinking sculpture”, as they call it) shows “the evening before the morning after”. Consisting of 114 photographs, deliberately amateurish, it represents an evening drinking at the Balls Brothers bar in London’s East End. The artists, hitherto teetotal or nearly so, took up drinking for the sake of their art, or as a project within it, so they could understand, from an artistic point of view, the sensation of drunkenness.’

 

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William Hogarth A Midnight Modern Conversation (c. 1732)
‘William ‘Hogarth’s A Midnight Modern Conversation is perhaps the most misunderstood of the artist’s works. It rapidly became a preferred image for reproduction on punchbowls and tankards produced in England and Holland, as well as in Meissen for the Saxon court, all of which contributed to the idea that Hogarth was celebrating drunkenness and its effects. The print was also taken to mean that Hogarth was himself a hearty drinker who relished drunken companionship and promoted it in his art. This went along with the idea, developed in the late 18th century by his biographers, that he was a true man of the people who despised his social superiors, whose pretentious behavior was the main subject of his satirical art.

‘But a closer look tells a more complex story. While some of the participants seem to be having a good time, some are definitely not. The “politician” on the far right carelessly sets his sleeve on fire as he lights his pipe—with potentially horrific consequences. In the foreground, a wigless man has fallen off his chair and is spread-eagled on the ground, having smashed a bottle as he went, while an unsteady and unseeing drunk empties a bottle of wine on his head. A clergyman absorbed in his tobacco is toasted by another drunk who puts his own wig on the clergyman’s head. A man to the clergyman’s left is clearly ill and probably about to vomit, and the floor is littered with discarded food and broken pipes. The whole scene is a picture of disorder and of the consequences of excessive consumption of both alcohol and tobacco.’

 

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Walt Disney Studios How to be a Detective (1952)
‘Goofy is hired to solve a mystery of a missing “Al.” He searches the city for clues, but constantly runs into a city sheriff (who is portrayed by Pete) who tells him to let the police handle it. A car chase occurs and the drivers ram into a haystack. It turns out that Al is actually the city sheriff who is supposed to get married to the woman who hires Goofy to find him.’

 

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Tom Otterness Drunk Sphere (2017)
Stainless steel

 

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Gillian Wearing Drunk (1997–99)
‘Wearing’s plan—to cultivate a bunch of skid-row types over a period of years, give them the run of her studio, and film the proceedings—sounds like a recipe for disaster, not only for practical and aesthetic reasons but on ethical grounds as well. Yet the artist’s formal rigor makes the work a minimalist masterpiece: at once somnolent and keyed up, like its subjects—a cross between Andy Warhol and Samuel Beckett, if such a hybrid were possible.’

 

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Pablo Picasso Glass of Absinthe (1914)
Painted bronze with absinthe spoon

 

 

*

p.s. Hey. ** Carsten, Yep, upbeat at last. There are a fair amount of people still experimenting in film a la that, but the work’s just hard to know about and find. Re: the films. not a complete overhaul, but the scripts got focused and narrowed along the way often. Seems pretty normal. I’m used to that with my novels. I find the rethinking and revising very exciting, yeah. Frustration can be a muse assistant too, but sometimes you don’t realise that until later. ** Steve Erickson, Indeed. On both fronts. Female visual artists are starting to get their just rewards, and maybe in film it’s budding at least. Curious about that Adverts tour doc. Huh. ** _Black_Acrylic, Happy you liked it. Yeah, beautiful, right? Get the Printshop off their lazy asses. Somehow. Maybe today? ** worm, Hi, worm! Very cool to meet you. Oh, gosh, no need to be nervous with me. I’m easy. (1) I’ll send you my email address at the email address you used to register here, if that works. Warning: I can be very slow with email. (2) I’d love to get to Australia. I was there once, and liked it a lot, but, yeah, it’s an expensive long trip. But I’ll try to find a reason. Zac’s and my film was shown there recently, but we couldn’t afford to go along. Favorite albums of the year … uh, off the top of my head, My New Band Believe, Nirosta Steel, The Mandy, Indiana album, … I’m blanking. But those to start. What are yours? Thanks for the kind, awesome words. What do you do, or what do you like to do, or that sort of thing? Please hang out if you feel like it. ** Dominik, Hi!!! The little sculpture, ooh, eyes peeled. Thank you! Obviously love deserves a month off. Is there a way? Love Zooming with his film producer today and hoping for good news, G. ** kitchencountertop, Hi! Nice, that film program. I’m going to look into the Geneva trip. Maybe you’re right, although it seems like it’d be pricier, I don’t know why. Thanks. What else’s going on with you? ** Adem Berbic, Feel much, much, much better, pal. I’m trying to imagine how my week could be Beckettian and positively so … I’ll figure it out. ** laura w., Low budget rules. Zac and I wouldn’t know what to do with a big budget. I guess pay and feed everybody better. Current Robert Smith is one scary looking dude. I’m trying to get into Xmas mood to make the transition. It’s kind of working. I love ‘Ocarina’, so I say totally go for it. I know it’s a controversial one amongst the Zelda set because there’s so much horse riding and nothing happening, but I kind of liked that. ‘Your Blues’, yay. ‘Actor’ is one of favorite songs in or outside the album. Yes! ** HaRpEr //, She’s really special. And, yes, ‘Ballet Mecanique’, for sure. In the art world in the last few years, the female visual artists have been kicking the dudes’ asses in terms of visibility and respect, and that’s been way heartening and the truth. You should visit the gallery. Cornelia’s great, one of my favorite people. ** Thom, I’m really glad you like the Blecher book. It’s extraordinary. Bewilders me that it’s so under-celebrated, but as is so often the case. Dude, The Notebook trilogy is one of the great literary works of the 20th century IMO, so you better like it! Haha. All’s good here. Saw Nirosta Steel last night, amazing, and just got back from coffeeing with him. He’s an old, long lost but no longer lost friend. And, yes, so cool about Bradford re-emerging! ** Nicholas., Gotcha. Totally get it. I don’t know … the future is untethered or can be. And it never disappoints unless you stop waiting for it? Maybe? ** voskat, Hi, there! Oh, gosh, Laura is due for such a huge break and breakthrough. Give her my whatever she needs. It would take me years to 600+ pages, and I still couldn’t do it. I thought ‘Longlegs’ was so overrated, I didn’t get whatever it’s supposed to positively have in store. I’m going to watch ‘Godzilla Minus Zero’. That’s the only thing that calls to me cinematically right now. Love to you both! ** Right. Drunks, nothing more need be said? See you tomorrow.