The blog of author Dennis Cooper

Month: June 2012

Poems that appeared in various contexts on my first, dead blog that haven’t already been rescued and reposted here


—-

Donald Britton

In Ballet, You Are Always a “Boy”

In ballet, you are always a “boy,”
Growing up into unmade suits
Whose sleeves will deny
Any knowledge of you. For the day
Is wide, yet fixed, a stream
Eddying into smudge mist,
Seemingly pencilled in
Beneath the sky’s magnesium flash,
Though more real than the grief
You cannot yet have remembered—
Whistled or hummed. Later,
When we have less time, we may know
What we know now in an altered light
That bleeds from below, stairs
Burning above, passing a wintry dusk
In the ordinary way,
And feel reappear in a breeze
Floating about a column
The close, the familiar moisture,
The unheeding fluidity
Of the old days and years.

Elaine Equi

My Dad

He always had a thing
for frozen orphans,
matchbook memories,

8 oz. martinis,

Adolph Hitler,
Johnny Cash –

a voice crying
in the 2 a.m. wilderness

before the dawn
of talk radio.

He was my dad.

Bad Folk Song

It ain’t bad

living in a

bad folk song.

The people

are friendly,

and the weather

is nice.

Kevin Killian

Spinning Around

Move out of my way

A sharp reverential hustler

goes round the room

in the old-fashioned channel of “Quadrophenic”

on the couch under the window, head thrown back

in the New York sunlight

He had me from “hello,”

not to take him for what he is worth

As, spinning around,

we patrol earth and the setting sun

mid-morning, and I’m wondering

does he know I’m alive

I know you’re feeling me cos you like it like this

On days like this your

cock swells to proportions of egret

sleepy bird under my wing

As wise owl trembling, feebly, you stroke

in the sun Happiness that never lasts

Darkness comes to kick your ass

Long tall chicken when you’re

seventeen I know you’re

feeling me cos you like it like this disaffected queen

“I’m rimming a clown,”

Yes I did have that experience

And wow, I am still not chilled out

I am giving you my mainstream

Fly

All Greece hates
the still eyes in the Australian face,
the luster as of ecstasy tablets
where she wraps
a microphone around her legs.

All Greece begs
Kylie Minogue to lay her eggs,
a bird in a golden nest
which you could lay like a trowel
recalling Allen Ginsbergís Howl
ómodernist screed, or coffee dregs?

Greece sees her fly,
to the prime minister next
to Michael Hutchence, in excess
the beauty of his cool feet
cramped in a noose
pushed out from tiled bathroom wall
the shower curtain thump,
white ash amid funeral *fragment*

Not silver, nor nemesis, nor orgone box
Shall cover thee,
Nor Dolce et Gabbana, nor many of
Allen Ginsbergís musical song poems on harmonium
or Nick Cave,
Nor the wild rose
nor last summerís wilder rave

Lethe has forgotten thee, and forgiven
your mother, who began this war
Even Iraq says, okay,
she had sex with Michael
Hutchence on an airplane, itís not
the end of the world, wrap it up,

yet Greece reviles
that five-foot pop princess and
the more I look the more I see
her story is that of *fragment*

James Tate

My Great Great Etc. Uncle Patrick Henry

There’s a fortune to be made in just about everything
in this country, somebody’s father had to invent
everything–baby food, tractors, rat poisoning.
My family’s obviously done nothing since the beginning
of time. They invented poverty and bad taste
and getting by and taking it from the boss.
O my mother goes around chewing her nails and
spitting them in a jar: You shouldn’t be ashamed
of yourself she says, think of your family.
My family I say what have they ever done but
paint by numbers the most absurd and disgusting scenes
of plastic squalor and human degradation.
Well then think of your great great etc. Uncle
Patrick Henry.

Amy Gerstler

Fuck You Poem # 45

Fuck you in slang and conventional English.
Fuck you in lost and neglected lingoes.
Fuck you hungry and sated; faded, pock marked and defaced.
Fuck you with orange rind, fennel and anchovy paste.
Fuck you with rosemary and thyme, and fried green olives on the side.
Fuck you humidly and icily.
Fuck you farsightedly and blindly.
Fuck you nude and draped in stolen finery.

Fuck you while cells divide wildly and birds trill.
Thank you for barring me from his bedside while he was ill.
Fuck you puce and chartreuse.
Fuck you postmodern and prehistoric.
Fuck you under the influence of opium, codeine, laudanum and paregoric.
Fuck every real and imagined country you fancied yourself princess of.
Fuck you on feast days and fast days, below and above.
Fuck you sleepless and shaking for nineteen nights running.
Fuck you ugly and fuck you stunning.

Fuck you shipwrecked on the barren island of your bed.
Fuck you marching in lockstep in the ranks of the dead.
Fuck you at low and high tide.
And fuck you astride
———————anyone who has the bad luck to fuck you, in dank hallways,
—–bathrooms, or kitchens.
Fuck you in gasps and whispered benedictions.

And fuck these curses, however heartfelt and true,
that bind me, till I forgive you, to you.

Bruce Hainley

Huffing My Piece

I’m not a guy
who will ever be
pulling off things
like he does—
his whole being is bod,
cock blocking,
riding jock.

He’s time.
I’m just a clock.

Belief

Benoit balls rosary

Problem

is this
could be
a poem

Desire

I wanted
to write something
in praise
of Macaulay Culkin’s novel, Junior
that wasn’t ironic

Hard-won

diehard
hard-on

Desert Trade

succulence

Gay for Pay

Oh, please

Reality

really

Fact Check

Matt Dylan should be Matt Dillon
Dennis Peel should be Denis Piel
Lesley Briner should be Leslie Bryner
Charavari should be Charivari
André Leon Tally should be André Leon Talley
Sean Casey should be Shaun Casey
Ultimissima should be Ultissima Beauty Institute
Ma
chado should be Augusto Machado
Danillo should be Danilo
Robert Fiancé should be Robert Fiance
Debbie Mazar should be Debi Mazar
Shelly Duvall should be Shelley Duvall
Brews should be bruise
John Peters should be Jon Peters

John Ashbery

The After-Dinner War

“There is in this sack a different sort of meal.”
—The Mabinogion

What it narrows down to is a market-driven fantasia
on others’ themes. You got a tender little look at it
back there where three roads cross. “Are you ticklish?” has requested
the new-fangled bundle of sleep, and who’s
to question her legitimate motives? We,
that’s who. With the sun setting and all,
we beetled in from the lost dude ranch. Aftershocks
the color of a seedpacket made it all seem alive.

Thou vehicle of remorse, apprise us,
and that quickly, of the circumstances
of our late removal. You see, it was our understanding
that choppy seas covered the planet, reined in only fitfully
by heresies that seem tame in the light of the morning after.

Once we had scratched ourselves and made a few indecent noises
it was time to get up and consult the sibyl,
who was on lunch break as usual.
Whom could we get to stand in for us?
Who will be next out of the starting gate?

Ed Smith

Untitled

Today, I aspire to drunkenness
And a long swim
Straight out from the shore
And tonight I’ll sleep
In the same fetal position
That I’m standing in now.

There Was a Time

There was a time I would have
blown my nose on your shirt.

Zero Zero

I can’t have fun unless I get drunk
We like to make pretty parties
with glass bottles smoke brown
believe me
you drink eighteen beers in one hour
and it’s bound to affect your life
I just can’t remember
what it did to mine

Clothes

This is a good line.
This is a bad line.
This is a clothesline.

Confessional Poem

when
my pet dog died my
parents
didn’t understand how upset I was
they didn’t know
he’d been giving me head

A True Story of Enormous Significance

The other day I was making some
tea so I put a pot of water on
to boil, turned away and got
a cup from the cupborad. I
put a teabag in the cup. By
and by, I went back to the
stove and stood over it, gazing
into the pot of water. Presently,
the water began boiling before
my very eyes. It wasn’t the
first time I had had such an
experience.

Eileen Myles

Girlfriend

a ball of light
comes up
a street
meets a park,
enters.
A translucent
statue
stands inside
one that holds
the day &
explains
love to the world
even in the
dark
the roaring sun
embraces the
girl
inhabits
and entrances
her. It’s
the way
you know me,
I know you.
The ball
streams past
but leaves her
light
shovels its
glory everywhere
jars & cars
out paces
the stars
the world
is flooded
with
you. That
good.

David Trinidad

Splash!

Like a rock, Elly
May’s cake sank to the bottom
of the “ceement” pond.

In Outer Space

Judy Jetson spins
a disc and does the Orbit
to “Comet of Love.”

With a Little Grin

Morticia snipped off
the rose and placed the stem in
the tombstone-shaped vase.

Patty to Cathy

“While you study as
me, I’ll leave as you, then go
as me on my date!”

Housework

Samantha looked at
the dirty dishes. “Just this
once,” she thought, and twitched.

New Year’s Eve

The cork popped off the
bottle and, effervescent,
Jeannie overflowed.

Honey in the Flesh

She knew how to use
her high-voltage curves like an
unconcealed weapon.

Batman and Robin

hang by threads above
a bubbling vat of acid.
To be continued…

Model Children

Kitten told the truth.
Princess set aside her pride.
Bud made right his wrong.

Island Girls

Mary Ann dons one
of Ginger’s dresses, but it
falls flat on her chest.

Gossip

Gidget and Larue
knock heads as they press their ears
to the princess phone.

Fred’s Breakfast

With a club, Wilma
cracked open the three-minute
pterodactyl egg.

Puberty

Wally pounds on the
bathroom door. “C’mon Beav! You’ve
been in there for hours!”

Fractured Fairy Tale

This kissing princess
was such a dog that the frog
she smacked simply croaked.

Green Acres

The smoke from Lisa’s
burnt pancakes slowly blackens
the fresh country air.

The Mod Squad

Julie, Pete and Linc
bust some thugs, then head back to
their pad to turn on.

Like Bird or Balloon

Sister Bertrille fades
to a speck in the blue sky
above San Tanco.

Dennis Cooper

The Silverchair Poem

Daniel Johns, you’re a genius,
but you used to sound like
Pearl Jam so America says
no. You were cool. You had
our jizz. Now we want to fuck
The Vines. We did genius once.
We had critics who desribed it.
Now we’re into feeling horny.
You aren’t helping us. You’re a
what? We’ve forgotten how to
write about you. We’re with The
Vines now. They make us write
unbelievable copy. America
really loves to fuck. You’re a
what? Okay, you are. One star.

Larry Fagin

Unplanned Account

Everybody has a story. The mountain threw rocks at me. I stood up to it. At the top I built a shelf for my record. There was enough sky for another life, an abutment of air. Science itself authorizes blue, whoever comes along may have some. Up here one can appreciate the eye as an exposed part of the brain. That’s Helga, the chick who shares my pad. She’s not really orange, it’s the picture. We’re moving the aerial into the hall. I’m an emotional guy who lacks a cohesive point of view, and Helga has an eating disorder. She’s a monist. I can dig it. I mean, why did the universe go to all that bother? Bears drunk on honey wrestling with monkeys, electric burgundy odd-toed ungulates, and the two-headed snake—one head for eating and drinking, the other just for thinking.

Poetry Information

Rain with a sour smell. Not to worry, though you might wind up with it— primarily a race against your own skin. The skull is showing. The jerking horses in the old footage, bound to end badly. Psychi
c hardening, I suppose. Poetry is arranged by sound. I can say no more. A beloved relative from out of town was arriving the next day with a brand new infant who would be tense, disoriented and distraught at discovering herself uprooted from her familiar bassinet and plunged into a great metropolis seething with cutthroats and cheap chiselers. People ought to get out more, play cards more, fight more, fall down more. But we don’t need each other to watch a film, streaming overhead. At your behest, I stood behind the statue, peeking over its shoulder at live persons, catching something of their tenderness. They’ve been marinating, the young and the tough. Meanwhile you should all have live blood cell analysis.

John Wieners

Two Years Later

The hollow eyes of shock remain
Electric sockets burnt out in the
skull.

The beauty of men never disappears
But drives a blue car through the
stars

Act #2

I took love home with me,

we fixed in the night and

sank into a stinging flash



1/4 grain of love

 we had,

2 men on a cot, a silk

cover and a green cloth

over the lamp.

 The music was just right.

I blew him like a symphony,

 it floated and

 he took me

down the street and

left me here.

3 AM. No sign.

only a moving van

up Van Ness Avenue.

Foster’s was never like this.



I’ll walk home, up the

same hills we

 came down.

He’ll never come back,

 there’ll be no horse

tomorrow nor pot

tonight to smoke till dawn.

He’s gone and taken

my morphine with him

Oh Johnny. Women in

the night moan yr. name.

David Aspelin

died at 16

put a rifle in his mouth, and laid across his bed at night.

After he held my hand on the way home and said

 I will be dead tomorrow.

—-

*

p.s. RIP: Susan Tyrrell. So weird: I was literally putting together a blog post about Susan Tyrrell yesterday, and I went back to her Wiki page at one point to check on something, and her life had suddenly been given an end date. So sad. She was a trip. I always thought someone should have remade ‘Whatever Happened to Baby Jane’ starring her and Grace Zabriskie. ** Oscar B, Thanks, B! Maybe I’ll be seeing you in a few hours? ** Nicki, Hey. Yay, the addiction has set in. Okay, I’ll concentrate on finding ‘Snowtown’ then. Less is more. Well, sure, of course ”s question was legit and more. I hope she or he comes back too. ** Kyler, Danny Kaye! My mom loved Danny Kaye. I grew up with him charging up the background. Thanks! ** David Ehrenstein, Hey. Yeah, those hidden mom pix were a real find, right? Hope all is great with you. ** Paul Curran, Thanks, Paul! Fantastic to get to chat with you for sure. I have some queries out, and I’ll let you know. ** Cobaltfram, Hey, man. Ah, well, I’m going to skip that video entirely then. When you’re a vegetarian, or the kind I am, stuff like that is like watching snuff. When do you estimate you’ll have the section polished up enough to send? ‘I’m growing increasingly to worship my subconscious as some kind of god’: wow, that’s a nice way to put it. Cool. My weekend … uh, worked on my maybe novel, which is still going well. Followed the French parliamentary elections on Sunday. Started organizing and getting the tickets and hotel reservations, etc. for Yury’s and my upcoming shortish summer vacation in Portugal and then in this crazy, amazing spa Therme Val in the heights of Switzerland. Work-related meeting with Gisele. (We start work /auditions/ rehearsals re: our new theater piece this weekend.) Other stuff I don’t remember for probably a good reason. How did the novel and life overall treat you today? Love, me. ** Sypha, Good luck with the gauntlet. Sounds like your vacation will be around the same time as mine. Maybe that’s a mutual good luck sign or something. I do remember that story, yes. That was a character after my own heart or head at least. Yeah, well, good luck with that Bieber album. I’ll get my crucifix and garlic earmuffs ready, ha ha. ** Daniel Portland, Hi! Oh, yeah, maybe that was it. It was, like, a photo of you and another guy in drag, I think, facing each other sort of? You saw Vår, you lucky dog! Damn. I guess they’ll play here. Paris is kind of in their neighborhood. Take care, great Mr. Portland! ** Alan, Ha ha, apparently. What was it about the post in particular that made you consider that? Why the author photo drama? Do they want her to look more official than she wants, or … ? Ah, that’s the thing, right? If you’re in love with a novel that you want to write, you’re kind of powerless. That’s my story. You just have to trust the love, I guess. I’m very happy to hear that, as you can imagine. ** Bill, Ha ha, yep. No, I didn’t know about that Excel egg. I don’t even know if I have Excel. Maybe. I’ll find out. Yay! Your weekend sounds pretty sweet really. Mine was sweet too, I think. Maybe semi-sweet, too much rain and some new internet hog moving into the Recollets being the bitter. ** Memoirs of a Heroinhead, Shane, old buddy! You must have felt my longing for you over there in Lyon. Awesome to see you! Wow, that’s like a job job, I mean capital J job and everything. It even sounds kind of interesting, at least to a layabout like me. Well, maybe the hand slashing part is a little nerve-bunching. Really great about the writing! You sound like you’re totally on fire. And your blog looks beautiful. It always did, but now it has this being inside a cave entrance kind of look and vibe, which you know I would be into. Me, yeah, you know me, I’m always up to doing something. I don’t think anything that I’m doing would shock you. You got ‘TMS’ cool, thanks. Uh, hope you don’t need to use your powers of loyalty on it. Anyway, man, this is great — you here, you and me shooting the shit together across this lovely country and inside this crazy blog again. A whole heck of a lot of love to you! ** Ian Tuttle, Thanks about the post, man. That book ‘The Gift’ does sounds really interesting. Hunh. Shall I look for it? Yes. Yeah, there’s a shitload of porn flashes in the Disney cartoons. I think I did a post or most of one about them at some point. Great ‘Snow White’ one as I recall. Excellent day to you, sir. ** 5STRINGS, Like Bill said, Gang of Four are way not Oi. Way more tricky, angular. My Plato visit would have been pre-pothead, I think. Or, wait, post pot, pre-LSD, I think. I think he really wasn’t cool when I was at a tender age. I think it was all Sartre back then. And Timothy Leary, ha ha. I never had a stepdad. I just had my mom’s step-dates, and not many of those. One was a priest or ex-priest or something. He actually joined in on family dinners and stuff. He had that creepy, sociopathic priest way of talking to you. Clichy is especially kind of like its own town inside Paris. More than the other areas that seem like that. There’s this part of the Marais that’s like that too. Not the famous part. Actually, the loft parts of ‘TMS’ are set there. Oh, I didn’t get to read the rest of your story yet. Yesterday got swamped. I’ll get to read it today. Like early evening. More like late afternoon, actually. Killian’s book is off the hook, yep. Ken’s too. I was a Pluto man as well! High five! I wish everybody talked like him. ** Emily Louise Church, Hey! Oh, that’s okay. Moving is so horrible. I hate it. Did you have to move out of London ‘cos of money stuff? Shit, that’s a rude question maybe, so never mind. The outside of Circus Circus is cool. And the kind of shitty amusement park under the
dome inside is kind of weird in a cool way. But otherwise, wow, it’s like Tea Party central. I used to always stay at the Luxor until they de-cheesified it and tried to make it elegant, which ruined it. Then I always stayed at New York, New York ‘cos … it was the cheapest one that wasn’t depressing? ‘Cos it has a roller coaster on its facade? The one that’s shaped like a castle is really depressing too. You saw Cher. Good pick, very Vegas but with a twist or something. I think I want to see a magician next time. ** Steevee, Ha ha, Roggenbuck is becoming such a phenom that it almost wouldn’t shock me if Bieber and he did a double boost. ** JoeM, How about that? I mean about Shane showing up as if our mention was a Siren. You saw all the superhero movies. I think I did too on airplanes. I can’t remember which ones I liked and didn’t. Oh, I do remember that the Green Lantern was really bad. I have a bead on that Meek movie now. Thanks, Joe. I didn’t know or remember that Epstein and Orton went out in the same year. Strange. Did they all know each other, all those smart, clever, groovy queer English cultural, London-based dudes? ** Postitbreakup, Oh, thanks, Josh! ** Misanthrope, Holy shit, like, pantsed naked? When I think pantsed, I just think trousers only, harmless fun. Yikes. That child has evil in her. Sande came to you via Harry fucking Styles? Okay, I’m about 90% less inclined to search her out now, ha ha, sorry. Not that I have a clue about Mr. Styles’ taste in things. I’m totally stereotyping him. Shaun Cassidy was into Patti Smith and Bowie when he was big and when they were still the edge. So, there you go, or there I go. Vincent Kartheiser could easily have mainstreamy tastes. He probably takes acid and listens to The Shins and goes whoa, trippy! ** MANCY, Hey, man! Thanks about the post, of course, and fuckin’ A, awesomeness supreme about the acceptance by the U of W! Great! For the fall or when? Congrats, pal, that’s so good to hear! Consider my tangled fingers at your beck and call. ** Chris Dankland, Ha ha, right. Can the Boost be far behind the Biebz? Yeah, Shane Jones’ rough ride to publication is a total inspirational story. And now he’s at fucking Penguin! His new one’s real good. I liked ‘The Wind Up Bird’. I think that was the Murakami that I liked the best. I’m still waiting until the Bolano mania dies down a bit before I read him. Sebald is fucking great, right? Damn, that guy was good. I was just rereading him the other day. Ace that you’ll get to see Ben Kopel. If you talk to him, say hey for me, if you feel like it. I don’t know him really, but we’ve exchanged emailed hellos. Let me know how that is. ** Hyrule Dungeon, Cool, I’m glad the links helped. You need to get over here and see some of that stuff up close. Castellucci might well get over to you. He’s kind of the big European theater dog right now. Wow, fantastic that you put new writing online! I’m excited to read that, and the formatting/ form stuff looks amazing. Thanks a ton from a fan. Everyone, the seriously really fantastic Hyrule Dungeon has put some of his new writing out there for all of us to read, and this rare treat can be had right here. Click that thing, and you’ll be really glad that you did the second the page opens, guaranteed. I’ll be over there in just a while. Really, thanks a lot, J. Great day to you. ** Schlix, Hi, Uli. I’m so glad you’ll get to be in Berlin. We can figure out a meeting place and time, etc. between now and then. Great! Ugh, I hope helping your father isn’t too hellish. That Larry Clark show looks like it might be the same one that was here in Paris. Interesting, the paint throwing. Curious looking article on that. I couldn’t figure where the writer was coming from, but I’ll read carefully it in a minute. Take care, man. ** Bollo, Hi. You’re home. That show looks cool. I don’t know that artist, I don’t think? Everyone, courtesy of artist extraordinaire Bollo, here’s part one of a video tour of a cool, eerie art show in Norway called “if you go down to the woods” by the artist Magnhild Opdøl that he helped put together and that both he and I recommend you visit. Nacho pizza? Hold on while I construct its phantom version. Okay, I’m down with that. You got a Nespresso machine! I think of that as being so French even though it isn’t. You can’t go five minutes here without seeing George Clooney hock those things. Allright, enjoy the fruits of Ireland today, man. ** Okay. Like I mentioned before, I’m on a semi-regular mission now to get the last stuff worth saving from my dead blog onto this blog, and, in today’s case, it’s pretty simple and self-explanatory. Please meet, greet, and enjoy the released hostages, if you will, and I’ll see you tomorrow.

Gig #21: Monsters and náins of British Blues-Rock (’65 – ’73)

—-
danny_kirwan1971

‘The British Mod subculture of the mid-1960s was musically centred on blues and later soul music, performed by artists that were not available in small London clubs around which the scene was based. As a result a number of mod bands emerged to fill this gap. These included The Small Faces, The Creation, The Action and most successfully The Who. Because of the very different circumstances from which they came, and in which they played, the rhythm and blues these bands produced was very different in tone from that of African American artists, often with more emphasis on guitars and sometimes with greater energy. Most of these bands rapidly moved on from recording and performing American standards to writing and recording their own music, often leaving their blues roots behind.

‘The blues boom overlapped, both chronologically and in terms of personnel, with the earlier, wider rhythm and blues phase, which had begun to peter out in the mid-1960s leaving a nucleus of instrumentalists with a wide knowledge of blues forms and techniques, which they would carry into the pursuit of more purist blues interests. John Mayall’s Bluesbreakers were well known in the London Jazz and emerging R&B; circuits, but the Bluesbreakers began to gain some national and international attention, particularly after the release of the Blues Breakers with Eric Clapton album (1966), considered one of the seminal British blues recordings. This album became something of a classic combination for British blues (and later rock) guitarists, and also made clear the primacy of the guitar, seen as a distinctive characteristic of the sub-genre.

‘Peter Green started what is called “second great epoch of British blues”, as he replaced Clapton in the Bluesbreakers after his departure to form Cream. In 1967, after one record with the Bluesbreakers, Green, with the Bluesbreaker’s rhythm section Mick Fleetwood and John McVie, formed Peter Green’s Fleetwood Mac. Fleetwood Mac are often considered to have produced some of the finest work in the sub-genre, with inventive interpretations of Chicago Blues. They were also the most commercially successful group, with their eponymous début album reaching the UK top 5 in early 1968.

‘The next wave of bands, formed from about 1967, like Cream, Fleetwood Mac, Ten Years After and Free, pursued a different route, retaining blues standards in their repertoire and producing original material that often shied away from obvious pop influences, placing an emphasis on individual virtuosity. The result has been characterised as blues-rock and arguably marked the beginnings of a separation of pop and rock music that was to be a feature of the record industry for several decades. Some artists, like Alexis Korner and Mayall, continued to play a “pure” form of the blues, but largely outside of mainstream notice.

‘A rapid decline began at the end of 1960s. Surviving bands and musicians tended to move into other expanding areas of rock music. Some, like Jethro Tull moved away from 12-bar structures and harmonicas into complex, classical-influenced progressive rock. Some played a loud version of blues rock, that became the foundation for hard rock and heavy metal. Led Zeppelin, formed by former Yardbirds guitarist Jimmy Page, on their first two albums, both released in 1969, fused heavy blues and amplified rock to create what has been seen as a watershed in the development of hard rock and nascent heavy metal. Later recordings would mix in elements of folk and mysticism, which would also be a major influence on heavy metal music.’ — collaged

 

 

________________________
John Mayall & the Blues Breakers
‘John Mayall is often referred to as the “Father of the British blues.” His well-known band is still called John Mayall & The Bluesbreakers. They started out in the late 1950s in England, using Chicago style blues as a st
arting basis for their sound, which has evolved from album to album. Many members of the Bluesbreakers have gone on to great fame and fortune with other bands and as solo acts, including Eric Clapton, Jack Bruce, Peter Green, John McVie, Mick Fleetwood, and Mick Taylor. The studio album recorded with Clapton, entitled John Mayall & The Bluesbreakers, was recorded in 1966, and is widely considered to be one of the great classic blues albums on either side of the stormy Atlantic.’
— collaged


‘Stormy Monday’ (live, ’65)

______
Cream
‘Cream were a 1960s British rock supergroup whose sound was characterised by a hybrid of blues rock, hard rock and psychedelic rock, combining the psychedelia-themed lyrics, Eric Clapton’s blues guitar playing, Jack Bruce’s voice and prominent bass playing and Ginger Baker’s jazz-influenced drumming. The group’s third album, Wheels of Fire, was the world’s first platinum-selling double album. Cream’s music included songs based on traditional blues, modern blues, as well as more eccentric songs. Cream made a significant impact upon the popular music of the time, and, along with Jimi Hendrix, popularised the use of the wah-wah pedal.’ — collaged


‘N.S.U.’ (’66)

______________
The Jeff Beck Group
‘The Jeff Beck Group was an English rock band formed in London in January 1967 by former Yardbirds guitarist Jeff Beck. The other members included included the then very young vocalist Rod Stewart, rhythm guitarist Ronnie Wood, with bass players and drummers changing regularly. Their innovative approach to heavy sounding blues and R&B; was a major influence on popular music. Their first album Truth is regarded as a seminal work of heavy metal because of its use of blues toward a hard rock approach. This was confirmed in 2010 by Rhapsody, which called the album one of the all-time best “proto-metal” records. After a second and heavier album, Beck-Ola, Beck broke up the band in 1969 on the eve of the Woodstock Music Festival, altthough they had been scheduled to play there. This is something that Beck now regrets.’ — collaged


‘Beck’s Bolero’ (’66)

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The Yardbirds
‘The Yardbirds are mostly known to the casual rock fan as the starting point for three of the greatest British rock guitarists: Eric Clapton, Jeff Beck, and Jimmy Page, but they were truly one of the great rock bands; one whose contributions went far beyond the scope of their half dozen or so mid-’60s hits (“For Your Love,” “Heart Full of Soul,” “Shapes of Things,” “I’m a Man,” “Over Under Sideways Down,” “Happenings Ten Years Time Ago”). Not content to limit themselves to the blues covers they concentrated upon initially, they quickly branched out into moody, increasingly experimental blues/pop/rock. Their innovations redefined the role of the guitar in rock music, breaking immense ground in the use of feedback, distortion, and amplification with finesse and breathtaking virtuosity.’ — collaged


‘I’m a Man’ (live, ’67)

____________________
Eric Burdon & the Animals
‘One of the most important bands originating from England’s Blues and R&B; scene during the early ’60s, the Animals were second only to the Rolling Stones in influence among R&B;/Blues-based bands in the first wave of the British Invasion. Known for their gritty, raw, bluesy sound and hard-voiced frontman Eric Burdon, as exemplified by their signature songs “House of the Rising Sun” and “Don’t Let Me Be Misunderstood”, the band underwent numerous personnel changes, while influencing the later heavy metal music with the riffs of their rock songs such as “We Gotta Get Out Of This Place” and “It’s My Life”. They emerged as an exponent of psychedelic music before dissolving at the end of the decade.’ — collaged


‘When I Was Young’ (live, ’67)

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Ten Years After
‘Ten Years After is a British blues-rock quartet consisting of Alvin Lee, guitar and vocals; Chick Churchill, keyboards; Leo Lyons, bass; and Ric Lee, drums. The group was formed in 1967 in England. Their first album was not a success, but their second, the live Undead (1968) containing “I’m Going Home,” a six-minute blues workout by the fleet-fingered Alvin, hit the charts on both sides of the Atlantic. Stonedhenge (1969) hit the U.K. Top Ten in early 1969. Ten Years After’s U.S. breakthrough came as a result of their appearance at Woodstock, at which they played a nine-minute version of “I’m Going Home.” Alvin wasn’t the most superb, technically gifted musician in the world. But he never stood on stage with a cold grin on his face, churning out his lightning-speed guitar fills out of pure self-indulgency and a burning desire to fill the top spot in any of the innumerable ‘best guitar players’ chart. Ten Years After split up in 1974.’ — collaged


‘Good Morning Little School Girl’ (live, ’68)

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Led Zeppelin
‘Led Zeppelin created the blueprint for heavy metal, but much of the Brit rock band’s hard-hitting sound was based on American blues. Their first two albums, with their heavy, guitar-driven blues rock sound, led to Led Zeppelin being regularly cited as one of the progenitors of heavy metal and hard rock, even though the band’s individualistic style drew from varied sources and transcends any single music genre. Subsequent albums saw greater musical experimentation and were accompanied by record-breaking tours, which, like the group’s previous tours, earned them a reputation for excess. In the later 1970s the band’s output and touring schedule were limited by the personal difficulties and circumstances of the members. Led Zeppelin disbanded following drummer John Bonham’s sudden death in 1980.’ — collaged


‘Babe I’m Gonna Leave You’ (live, ’68)

_____________________
Peter Green’s Fleetwood Mac
‘The roots of Fleetwood Mac lie in John Mayall’s legendary British blues outfit, the Bluesbreakers. Bassist John McVie was one of the charter members of the Bluesbreakers, joining the group in 1963. In 1966 Peter Green replaced Eric Clapton, and a year later drummer Mick Fleetwood joined. Inspired by the success of Cream, the Yardbirds, and Jimi Hendrix, the trio decided to break away from Mayall in 1967. Their first album Fleetwood Mac was an enormous hit in the U.K., spending over a year in the Top Ten. Fleetwood Mac released English Rose and Then Play On during 1969, which both indicated that the band was expanding its music, moving away from its blues purist roots. That year, Green’s “Man of the World” and “Oh Well” were number two hits. Though his music was providing the backbone of the group, Peter Green was growing increasingly disturbed due to his large ingestion of hallucinogenic drugs. After announcing that he was planning to give all of his earnings away, Green suddenly left the band in the spring of 1970.’ — collaged


‘Oh Well’ (live, ’69)

___
Free
‘Most remarkable about the birth of Free was the young age of the band members who first came together to rehearse and play on 19 April 1968. Bass player Andy Fraser was 15 years old, lead guitarist Paul Kossoff was 17, and both lead singer Paul Rodgers and drummer Simon Kirke were 18. By the early 1970s, Free was one of the biggest-selling British blues-rock groups; by the time the band dissolved in 1973, they had sold more than 20 million albums around the world and had played more than 700 arena and festival concerts. “All Right Now,” remains a rock staple, and had been entered into ASCAP’s “One Million” airplay singles club. In April 1971, due to differences between singer Paul Rodgers and bassist Andy Fraser, the drug problems of guitarist Paul Kossoff, and inconsistent record sales, the band broke up.’ — collaged


‘All Right Now’ (live, ’69)

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Jethro Tull
‘Jethro Tull was a unique phenomenon in popular music history. Their mix of hard rock; folk melodies; blues licks; and surreal, impossibly dense lyrics defied easy analysis, but that didn’t dissuade fans from giving them 11 gold and five platinum albums. Tull had its roots in the British blues boom of the late ’60s. At the time, a lot of blues enthusiasts didn’t accept wind instruments at all, especially the flute, as seminal to the sound they were looking for, and as a group struggling for success and recognition, Jethro Tull was just a little too strange in that regard. Guitarist Abrahams was a hardcore blues enthusiast who idolized British blues godfather Alexis Korner, but the audience for British blues by itself couldn’t elevate Jethro Tull any higher than being a top club act. Singer Ian Anderson’s antics on-stage, jumping around in a ragged overcoat and standing on one leg while playing the flute, and his use of folk sources as well as blues and jazz, gave the band the potential to grab a bigger audience and some much-needed press attention.’ — collaged


‘Nothing is Easy’ (live, ’69)

____
Taste
‘During the latter half of the 1960s, during the peak of the British blues-rock craze, Ireland’s Taste, featuring Rory Gallagher, impressed crowds wherever they played. Featuring Gallagher’s extraordinary fretwork and dynamic showmanship, the band toured with superstars like Yes and Blind Faith, and even performed at the 1970 Isle of Wight Festival. Yet Taste never caught a break, and although influential and popular in England and Ireland, they never broke through to a U.S. audience. Taste released two studio albums: the self-titled Taste in 1969 and On The Boards in 1970. The critically-acclaimed On The Boards entered the Top 20 in England and featured a mix of guitar-driven blues, traditional boogie-rock, and even a pair of acoustic ballads, all showcasing Gallagher’s flaming fretwork and bottleneck slide guitar skills.’ — collaged


‘Blister on the Moon’ (live, ’69)

___________________
Jimi Hendrix Experience
‘Under speaking name of this institution, connected with the outstanding American singer and guitarist Jimi Hendix, it is possible to guess about all most. Certainly, Jimi Hendrix Blues Club is, first of all, a blues-club, and unique club in St.-Petersburg where it is possible to hear the real American blues in excellent execution. This small cozy place is on the left coast of Neva, in the center Northern capital – on the Foundry prospectus, being one of city trunk mains. Laid in parallel Neva, the highway begins from street Fuchika (at once behind the Foundry bridge) and leaves on Rastrelli’s area. Jimi Hendix is the elite club devoted to the most elite music of all times and the people. On a scene here every day leave well-known and not so blues musicians, and to find here a free little table in the evenings – very much and very uneasy. Except a magnificent live blues, visitors have possibility to look at video with legendary Jimi Hendix and Eric Clapton’s the most known performances.’ — hendrix-club.ru


‘Red House’ (live, ’69)

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Blodwyn Pig
‘Blodwyn Pig were a British blues–rock group founded by guitarist–vocalist–songwriter Mick Abrahams, after he left Jethro Tull in 1968 due to a falling-out with Tull leader Ian Anderson. Blodwyn Pig recorded two albums, Ahead Rings Out in 1969 and Getting To This in 1970. Both reached the Top Ten of the UK Albums Chart and charted in the United States; Ahead Rings Out displayed a jazzier turn on the heavy blues–rock that formed the band’s core rooted in the British 1960s rhythm and blues scene from which sprang groups like The Yardbirds, Free and eventually Led Zeppelin. Saxophonist–singer Lancaster (who often played two horns at once, like his idol Rahsaan Roland Kirk) was at least as prominent in the mix as Abrahams; some critics thought this contrast bumped the band toward a freer, more experimental sound on the second album.’ — collaged


‘See My Way’ (live, ’69)

__________
Groundhogs
‘The Groundhogs fronted by Tony McPhee on Guitar and Vocals were a top Progressive Blues Rock Group. Emerging in the early sixties as a blues band, noted for backing visiting American Blues Artists such as John Lee Hooker. The band evolved in the latter part of the sixties into a heavy rock group scoring a hit with their fourth and possibly most popular album Split. Through the seventies the band continued to record and play live as a trio with changing band members, towards the end of the seventies recording as a four piece with addition of a second guitar. The band disbanded in the late seventies.’ — collaged


‘Cherry Red’ (’70)

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Rumplestiltskin
‘A uniquely talented British heavy blues rock band, Rumplestiltskin was the brainchild of American producer Shel Talmy. It was his idea to form a ‘supergroup’ that might rival the highly successful outfits that dominated the early Seventies, such as Status Quo and Led Zeppelin. Instead of picking young, untried rockers, Talmy brought together highly experienced professional session men. due to contractual reasons the band used rather strange names which might have been pseudonyms. Although their two albums weren’t hits, it was nevertheless a serious project.’ — collaged


‘Mr. Joe’ (’70)

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May Blitz
‘May Blitz was one of the first four bands signed by eminent progressive blues and heavy rock label, Vertigo, along with future legends Black Sabbath, Uriah Heep, and the largely forgotten Juicy Lucy, whose less fortunate fate they would unfortunately share, in the end. Although usually attributed to former Jeff Beck Group drummer Tony Newman (who had played on the all-time classic Beck-Ola), May Blitz was in fact first envisioned in early 1969 by relative unknown James Black (lead vocals and guitar), who along with eventual bassist Reid Hudson was a Canadian, recently relocated to the U.K. in search of fame and fortune. Released in mid-1970, that self-produced platter showcased an interesting selection of proggy acid blues rock jams, infused with proto-metal guitar histrionics, but wasn’t distinctive enough, overall, to separate May Blitz from the hordes of competitors mining similar terrain.’ — collaged


‘Smokin’ the Day Away’ (’70)

____
Stray
‘Stray formed in 1966. The group’s brand of melodic, hook-laden, blues-inflected hard rock proved to be a popular draw on the local club scene during the early 1970s. However the band did not have commercial success with its record releases. At one stage Charlie Kray, (brother of the Kray twins Ronnie and Reggie), was their manager. Gadd left the band in 1975 due to artistic differences and was replaced on vocals by Pete Dyer. The original Stray finally dissolved in 1977, although Bromham later continued to play in various resurrected versions of the project well into the 2000s. There are two Iron Maiden connections to Stray. “All in Your Mind” from Stray’s 1970 debut album was covered by Iron Maiden, and Maiden bassist Steve Harris’s daughter Lauren has covered “Come On Over”.’ — collaged


‘Suicide’ (’71)

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Humble Pie
‘When Humble Pie was formed in 1969, the act immediately garnered attention as one of the first “supergroups,” as its leading members, Steve Marriott and Peter Frampton, had already attained stardom in other rock bands. Marriott had played guitar and sang with the Small Faces, a successful rock act that had achieved a string of hits around the world, and Frampton had played guitar with the Herd, a pop-rock group that was popular in England. Dissatisfied with the direction their respective bands were taking, Marriott and Frampton decided to form Humble Pie as a rock band with a blues-oriented sound. The band was an immediate hit with critics and started to build solid sales when Frampton left the band in 1970. The group disbanded in 1974.’ — collaged


‘I Don’t Need No Doctor’ (live, ’71)

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Chicken Shack
‘This British blues-rock group is remembered mostly for their keyboard player, Christine Perfect, who would join Fleetwood Mac after marrying John McVie and changing her last name. Although they were one of the more pedestrian acts of the British blues boom, Chicken Shack was quite popular for a time in the late ’60s, placing two albums in the British Top 20. The frontperson of Chicken was not Perfect/McVie, but guitarist Stan Webb, who would excite British audiences by entering the crowds at performances, courtesy of his 100-meter-long guitar lead. They were signed to Mike Vernon’s Blue Horizon label, a British blues pillar that had its biggest success with early Fleetwood Mac.’ — collaged


‘Poor Boy’ (’71)

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Savoy Brown
‘Part of the late-’60s blues-rock movement, Britain’s Savoy Brown never achieved as much success in their homeland as they did in America, where they promoted their albums with nonstop touring. The band was formed and led by guitarist Kim Simmonds, whose dominating personality has led to myriad personnel changes. The band’s 1967 debut album, Shake Down, was a collection of blues covers. Seeking a different approach, Simmonds dissolved the group and brought in guitarist Dave Peverett, bassist Rivers Jobe, drummer Roger Earl, and singer Chris Youlden, who gave them a distinctive frontman with his vocal abilities, bowler hat, and monocle. With perhaps its strongest lineup, Savoy Brown quickly made a name for itself. However, Youlden left the band in 1970 following Raw Sienna, and shortly thereafter, Peverett, Earl, and new bassist Tony Stevens departed to form Foghat, continuing the pattern of consistent membership turnover. Simmonds collec
ted yet another lineup and began a hectic tour of America, showcasing the group’s now-refined bluesy boogie rock style, which dominated the rest of their albums.’
— collaged


‘Hellbound Train’ (live, ’72)

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Incredible Hog
‘Like so many early 70s bands, the three-piece London-based group Incredible Hog were a by product of the 60s British Blues Boom. In an attempt to mix melodic pop with heavy rock and intelligent, meaningful lyrics, guitarist/vocalist/songwriter Ken Gordon and bassist Jim Holmes, who’d actually been at school together and played in the band Speed Auction, formed Incredible Hog in early 1972. When the band’s only album Volume 1 was released in mid-73, it received a lot of critical acclaim, but was too ahead of its time to generate acceptance from the general public. Nonetheless, the band toured the UK to promote the album and even started recording a follow-up, before a mixture of record company apathy and lack of commercial success led to the band folding late in 1973.’ — Alex Gitlin


‘Burnout’ (’73)

—-

*

p.s. Hey. ** Misanthrope, I didn’t go to my high school graduation, but I think the guy who started Taco Bell, and who lived in my city (Arcadia), did the speech-giving honors. When I was hunting for slave profiles yesterday, I saw my first fake Harry Styles or rather some hopeful slave wannabe who I guess thought no one would recognize the famous guy in his fake picture, and I surely wouldn’t have thought twice if it wasn’t for you. Take a bow. Oh, who knows where Magnotta will end up. The right lawyer can do anything these days. ** Bitter69uk, Hey, man! Nice to see you! Excellent new stuff on your blog, as ever. Condolences about Lobotomy Room, and congrats to your baby giving pals. I know, It’s really shocking that they tore down those clubs and that no young club kid/entrepreneur grabbed them before that happened. Mind boggling. Thanks for the link. I watched that video. Le Macabre looks like it was sweet: spooky, kid-like but savvy, and austere almost. I hope you’re doing good. What’s up? ** Paradigm, Hey, Scott! I’m really glad you were okay with my reposting and illustrating of your Tsiolkas Day. I thought it was interesting how it was made before ‘The Slap’, which seems to have been a big hit for him, at least in some countries, although not in the US, I don’t think. I actually wondered if that book had shifted your thoughts on him or not, and it’s great to see your update. In fact, I think I’ll forefront it here so people can add it to their experience. Everyone, Paradigm, who made the lovely, revived post the other day about the writer Christos Tsiolkas, has added an addendum that brings us up to the present on Tsiolkas’ work, and here it is: ‘In 2008 Tsiolkas released his most critically acclaimed novel to date, The Slap (shortlisted Miles Franklin, winner Commonwealth Writers Prize, Longlisted Manbooker.) * The novel focuses on the ramifications of a young child being slapped by an adult at a family bbq. Taking the slap as the instigation the novel shows the disintegration of these network of friends as they deal with the eschewing drama. Infidelity, drug use, paedophila all are brought up as the suburban dream starts to crumble. * In so doing the novel is a shift of sorts for Tsiolkas. The big ideas of Dead Europe have been replaced by a look at the darkness of the suburban life around us. The focus has shifted from a search for personal and political identity into a more rounded look at the suburban lives the majority of Australians live. The way in which events become dramas onto which to project ideas onto. * The novel also is a shift in that for the first time Tsioklas has written as a female character. He does this for 4 of the 8 chapters that make up the book (each chapter being told by one of the main characters of the novel.) Showcasing further the rounding out of the focus on suburbia. * In 2011 the Slap was screened as an eight part mini-series on abc TV in Australia. Bringing these questions to a wider audience. Who knows where Tsiolkas will turn next but its fair to say a lot of people will be watching and waiting in that direction.’ Thanks a lot for that, man. Yeah, that area of Paris, Clichy/Montmartre, was a hotbed of gothic clubs and theaters at that time. There was yet another hell/death themed nightclub nearby whose name I forget, and the Grand Guignol theater was right there too albeit on its last legs. Fine day to you. I hope your camping trip was a blast. ** David Ehrenstein, Hey, D. I tell you what: if Christophe comes up with a part that includes a love scene with Gregoire LePrince-Ringuet and comes begging, I’ll suggest you for the role. Happy to share the wealth. Yeah, Marine Le Pen has lost her shit over that Madonna Nazi symbol thing. She’s sending NF spies to her Paris concert, and she says if Madonna does that again, there’ll be … I don’t know, war of some sort. Really nice interview with Jason Schwartzman. Thanks a lot for sending it my way! ** Cobaltfram, Hi, man. With Pinget, my favorite of his, and one of my all-time favorite novels in general, is ‘Fable’. He’s great and really overlooked, especially in the US. He was the gay Nouveau Roman author, although his work only kind of sneaks around gay stuff once in a while, but in a really interesting way. You’re a tough guy to even think of making it halfway through ‘The Corrections’. Well, murder mysteries can certainly be art and great, so it seems like that’s a genre where you could do the cake and eating it too number. My novel is inching along right now. I hit a snag the other day, but I think I might have figured out a way to work my way through it while I was falling asleep last night. We’ll see. I know, back when I was writing a lot of nonfiction, I hated tearing myself away from my novels to do that work, although it usually ending up helping in some weird way — the fresh air, maybe even few new tricks I got taught by trying to fill in the journalistic blanks but weirdly. ** Alex Shaw, Hey! Yeah, some people are definitely making a connection between Magnotta and my work. My Facebook wall and inbox are full of people telling me so. It’s interesting, although I really hope that it doesn’t turn out he likes my books and that liking becomes a media issue. That would be nightmare, but he doesn’t like an experimental fiction reader to me. Ha ha, that cabaret as Rimbaud’s Studio 54, that’s awesome. Nice one. Yeah, the cabaret and he just missed each other unfortunately. Dude, just so you know, you can complain here anytime you want. No problemo. That’s wonderful about the great, growing relationship with your girlfriend. Very nice to hear that, for sure. What are you listening to or reading or seeing that’s particularly interesting? Coincidentally, about two weeks ago I went back to experience that terrific Venetian Snares Day you did for the blog ages back. I’m good, been good, working on my stuff and enjoying Paris and all that. Yeah, I’m doing fine. Great day to you, pal. ** Steevee, Hey. It goes in cycles then, and it does sound like it’s generated by your chemistry. I know very little about antidepressant meds, but are there ones that are intended specifically for short term usage to just get someone over a hump? Ones that you can stop taking without much or any withdrawal symptoms? I
t always seems like people stopping and coming off meds have such an awful time. Anyway, how are you feeling today? ** Bernard Welt, Hey, B. Very happy to have accidentally helped out. Thanks for saying that about the resonances, and, yeah, it’s true. Hence, a lot of things, I guess. The spooky house as art form obsession. Certain video games spaces. Etc. Hm, there must be at least one great novel set in hell, but I’m blanking. A French one, certainly. Hunh. Everyone, does anyone reading this know of a really good novel set in hell? Bernard Welt would be very interested to hear, and so would I actually. Thanks a lot! ** Robert-nyc, Hi, Robert. When I see Brad again, I will ask him what became of that unpublished second novel. Good question. I would certainly imagine that some indie press would be into publishing it, if he’s cool with going that route. No, I’m going to be projected onstage in Christophe’s new play. So, I’ll be in his work but not in a movie. He wants to make a film of one of my novels one of these days, and, as you can imagine, I’m crossing my fingers into a painful lump hoping that happens. Great day to you, my friend. ** _Black_Acrylic, Hi, Ben. My kind of place too. I walked by that Monoprix a bunch of times for no good reason before I knew what it had replaced. Never shopped there though. Some kind of weird pull and push effect. Congrats on the freeing up of your airspace! ** 5STRINGS, Hey. I came into art through contemporary stuff. I remember a high school field trip to the LA art museum where I saw this piece by Baldessari called ‘Wrong’, and I went, oh shit, art, wow! Never had the slightest interest in the old stuff until I was able to see it as contemporary art’s grandpas. I still walk about ten times faster through the Louvre than I do through the Pompidou. Short story, yes! Good one. Mine’ll either be a novel or a weird long fragment that gapes at the end, so hopefully it’ll be the former. Rock & Rigamarole. ** Kyler, The post-nap sparkly smeared state is so nice. I wish I could take naps. I’m too jumpy. Enjoy what’s left of the full moon if there’s anything left. ** Heliotrope, M! Buddy birthday boy! I saw that The Clean were playing in LA, and I thought, I betcha anything the Markster’s gonna be there, and I was right again. Did the right things win the California election? I don’t know what’s what. Hey, there’s old Danny up there again today, how’s about that. Love to you, man! ** Sypha, I’m glad your morbidity isn’t hampering ‘Confusion’s’ butterfly-like transformation. And awesome about the Louis Wain piece for YnY! I’m exited to read that! Sounds like you’ve turned morbidity into your kingdom to me. ** Alan, Hey. Oh, cool, you found the artist. How did you do that? It seems like there would be some kind of app by now where you could upload a photo whereupon it would search and find locations where the photo is lodged. Maybe there is one? Oh, man, I don’t have any kind of guess at the answer to that question. I’m terrible on my toes. I would be the worst ever game show contestant. Okay, wait, … no, I can’t think of an even remotely witty answer for that, damn. Tell me. ** Jax, Hey. Okey-doke, I will check for possible Dentist School websites. Yury can help if the French is too complex. Hm, I see about the werewolf novel. Being a ‘think on the bright side’ type, I’m going to take her at her word and hope. Peyton Placey, Scottish Elmore Leonard, stoner Greek chorus, hm, … that could just work, Jack. I got a distinct whiff of freshness from the weird mental image that combo made. I say gun the engine. Marinas are kind of big in California too. So is growing cannabis, big surprise, ha ha. So that novel could easily get on the California best seller list, if there is such a thing, which I guess there must be. Gun it! Yeah, the supposed cannibal got himself snagged. He sure looks grumpy in his arrest photo. Like actual grumpiness, not his usual eye-batting grumpy face. ** I think that’s all. I’ve got a wayback machine-style gig for you today full of the famous and the not so. I think it’s kind of hot. Do you? See you tomorrow.

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