The blog of author Dennis Cooper

Galerie Dennis Cooper presents … Fires, feat. Mat Collishaw, Harun Farocki, Martin Honert, Bernard Aubertin, Gal Weinstein, Claudio Parmiggiani, Goran Bertok, Lois Dodd, Bastiaan Maris, Liza Lou, Tim Parchikov, Claire Fontaine, Dennis Oppenheim, Jim Casebere, Antony Gormley, Maurizio Cattelan, Peter Sutherland, Carolee Schneemann, Cai Guo-Qiang, Anthony McCall, Cassils, Ian Strange, Hongtao Zhou, Jeppe Hein, Nathan Coley, Dalibor Martinis


Mat Collishaw
Harun Farocki
Martin Honert
Bernard Aubertin
Gal Weinstein
Claudio Parmiggiani
Goran Bertok
Lois Dodd
Bastiaan Maris
Liza Lou
Tim Parchikov
Claire Fontaine
Dennis Oppenheim
Jim Casebere
Antony Gormley
Maurizio Cattelan
Peter Sutherland
Carolee Schneemann
Cai Guo-Qiang

Anthony McCall
Ian Strange
Hongtao Zhou
Jeppe Hein

Nathan Coley
Dalibor Martinis


Mat Collishaw Burning Flowers, 2014
‘I like this because it is irregular. The object that usually destroys things like flowers is actually creating the flowers.’


Harun Farocki Inextinguishable Fire, 1969
‘One of Farocki’s first films, Inextinguishable Fire, from 1969, is a grainy cinematic essay that reflected on the then-still-unfolding catastrophe of the Vietnam War. The oft-cited opening sequence of this early work is vivid and complex in a way that few works of video art achieve. A young Farocki is pictured, sitting at a desk. He reads, in a steady voice, from testimony from a Vietnamese boy who was disfigured by a US napalm attack. And then Farocki takes a lit cigarette and snuffs it out on his own arm. “A cigarette burns at 400 degrees,” a narrator says. “Napalm burns at 3,000 degrees.”’


Martin Honert Feuer/Fire, 1992
‘In Honert’s polyester-and-resin sculpture Feuer [Fire] (1992), the artist was inspired by a dictionary illustration that, as a child, became the very definition of fire in his mind. Honert then translated this symbol into plaster, with a later work evolving into a three-dimensional floor sculpture of painted and illuminated resin.’


Bernard Aubertin Tableau feu, 1961
‘Following a visit to the Paris studio of Yves Klein in 1957, Bernard Aubertin was inspired to follow in Klein’s footsteps and passionately work within the field of monochromy, a style that he adamantly adhered to throughout his career. By the 1960’s, Aubertin had introduced fire into his repertoire, a medium that effectively becomes the physical manifestation of his chosen color. Many of the works consist of abstract compositions using matches that were later burned, creating variations caused by the spontaneous nature of flame. The process by which the works are created is inherent in the final product and the viewer can clearly see the charred transformation that took place.’


Gal Weinstein Fire Tire, 2010
‘for his installation ‘fire tire’ israeli artist gal weinstein used wax, wool, polyester wool, styrofoam and graphite to replicate burning tires emitting smoke.’


Claudio Parmiggiani Untitled, 2008
‘The process the artist uses is “delocazione”, he sets objects on fire and removes them leaving behind smokey silhouettes.’


Goran Bertok The Visitors, 2004 – 2015
‘The series Visitors depicts the gradual decomposition of the human body, testifying to the ending of the life cycle. Eschewing all sentimentality and moralising, Bertok obsessively documents and displays the mortality of the body, turned by physical death into a mere lump of insentient flesh doomed to decay. The motifs of burning corpses in an abstract non-space are a testament, naturalistic if aestheticised to the extreme, to the now ubiquitous process of cremation of the human body, hidden from the public gaze.’


Unknown unknown, unknown


Lois Dodd Burning Houses, 2007
‘Each painting depicts the image of a rural house set fully ablaze. Bright orange, red and yellow flames with billowing smoke engulf a burning house that will soon be decimated. In two of the works a stream of water or a lone fireman seem ineffectual in reversing the devastation of the fire. Dodd’s unsentimental, no-nonsense directness grounded in observation is given an added poignancy with the subject of these paintings.’


Bastiaan Maris Fire Organ, 2015
‘Bastiaan Maris’s “Fire Organ” major installation attraction at DarkMOFO Winter Festival, Hobart, Tasmania June 2015. The Fire Organ has been placed over the site of the former Hobart Locomotive Roundhouse turntable (1915-1984), in the old Hobart Railyards site.’


Liza Lou Fire, 2002
‘Liza Lou is an artist who self-consciously examines and employs notions of seduction to examine American history, daily life, and the hidden values and terrors lurking beneath the glittering surfaces of the products we consume. Using glass beads, Swarovski crystal, and papier mâché forms, Lou probes the varied ways that our culture literally conceals its dullness as well as its dangers with ingenious packaging. Her surfaces dazzle the eye and tease us with familiar brand names and images. During the past 12 years, she has created free-standing sculptures and major installations, including the boldly colorful Kitchen (1991–95) and Back Yard (1995–97). In contrast, the series “Presidents” and the installation Testimony (1999–2002) employ a monochromatic palette. Testimony, exhibited at Deitch Projects in New York in fall 2002, is a narrative with 17 works, including a “falling” Man, a menacing Dog, a blazing fire, a wood grain-patterned Map of the United States, a hunter’s Trailer, and a Relief of a drowned blonde child in her communion dress.’


Tim Parchikov Burning News, 2012
‘As significant social, political and cultural changes are occurring daily around the world photographer Tim Parchikov has portrayed this concept literally in the series Burning News which has recently exhibited at The Hayward Gallery. Burning News depicts ‘hot news’ which develops and changes day to day highlighting the problem of how the human brain reacts to this flow of constant information and updates.’


Claire Fontaine P.I.G.S., 2013
‘The artists’ collective Claire Fontaine focuses on reflections about contemporary society, analysing through its works the relationships between spheres of power, the individual and the position of the artist. Claire Fontaine defines itself as a “readymade artist”. Its works, with a special mention for textual installations (messages, billboards and neon or fluorescent signs) made indistinctively in urban spaces or art galleries, are often underpinned by an open, multiple reflection driven by social critique.’


Dennis Oppenheim Digestion, 1989
‘Dennis Oppenheim, who died unexpectedly in January, began his walkabout as an artist in the early 1960s, hanging out on the West Coast exploring the surf life before he arrived in New York City with his Stanford art degree and a vision of wildness in his heart. In a fifty year art career that survived decades in an art world obsessed with the gamesmanship of shifting styles, fixations and flavors of the moment, Oppenheim managed to pursue his own interests, refusing to be pinned like a butterfly into a signature style or affect. The net result is a sprawling, protean oeuvre that occupies museums, collections and public spaces across the globe, from Zurich to Los Angeles to Beijing.’


Jim Casebere Falling House with Fire (for Mike Kelley), 2007
‘James Casebere’s pioneering work has established him at the forefront of artists working with constructed photography. Over the past forty years Casebere has devised increasingly complex models and photographed them in his studio, creating photographic tableaux that subtly lay bare their own devices to inhabit the gap between abstraction and image, painting and photography.’


Antony Gormley Waste Man, 2006
‘WASTE MAN was made over a six-week period at the end of summer 2006 out of about 30 tonnes of waste materials that had been gathered by the Thanet waste disposal services and by local people, and deposited in Dreamland, the area of Margate next to the sea and close to the station that had traditionally been the site of a vast funfair. Some works are made in wax to be cast in bronze; this was made in domestic waste to be cast in fire. The piece burnt in 32 minutes, sending showers of sparks over the crowd of spectators.’


Peter Sutherland Kingsford Bench, 2016
‘Mr. Sutherland’s benches smolder with flames, fireworks, and sunsets (or are they sunrises?) as subjects. The colors are fiery reds and oranges, presented through screens that give them the optical quality of road signs. The town they reference in California is known primarily as the setting for the 1987 movie “The Lost Boys,” about a beach town beset by violence and vampires.’


Maurizio Cattelan Last Act, 2011


Carolee Schneemann Flange 6 rpm, 2013
‘Carolee Schneemann’s Flange 6 rpm consists of seven motorized steel fixtures protruding from perpendicular walls. Atop each fixture, three cast-aluminum arms wave and rotate. (One fixture has only two.) Cast using a lost-wax process and left unpolished, these arms look like seaweed or badly burnt flippers. They suck at the air like whirlpools and waver like flames made solid. They throw shadows onto the walls, interrupting an otherwise floor-to-ceiling, slightly pixelated orange projection of actual flames shot in the foundry where the arms were cast. All of this makes for a weird kind of transparency, a revelation of process so total that the revelation itself comes to seem like the goal. But then, what is it revealing?’


Cai Guo-Qiang Mystery Circle, 2012
‘Art Type: Explosion Event. Medium: Gunpowder fuse, 40,000 mini rockets, 100 girandolas, 62 Tourbillon Mines. Duration: Approximately 2 minutes.’


Anthony McCall Landscape for Fire, 1972
‘For Landscape for Fire, Anthony McCall and members of the British artist collaborative Exit followed McCall’s pre-determined score to torch containers of flammable material across a field. McCall describes it: “Over a three-year period, I did a number of these sculptural performances in landscape. Fire was the medium. The performances were based on a square grid defined by 36 small fires (6 x 6). The pieces, which usually took place at dusk, had a systematic, slowly changing structure.” The work brought the grid — a conceptual focus for many artists in the 1970s and after — into a natural landscape, merging it with the vagaries of outdoor space and fire.’


Cassils Fire Starters at the Unicorn Roast (What Happened to the Queer Radical), 2016
‘This illustration depicts a haunting: Miss Major, Angela Davis, Sylvia Rivera, David Wonarowicz, Audre Lorde, and Marsha P. Johnson gather around a roasting and flayed unicorn. The George Segal gay monument in NYC is used as kindling to stoke the flames of their revolutionary spirit.’


Ian Strange Suburban, 2013
‘In Suburban, the Australian-born artist Ian Strange teams up with a film crew (and presumably several local fire departments) to subvert and in some cases burn the common image of the American suburb. The project involves eight site-specific constructions in Ohio, Michigan, Alabama, New Jersey, New York, and New Hampshire.’


Hongtao Zhou Burniture (2010)
‘Burniture from Hongtao Zhou are a pair of wax chairs from the melting-obsessed designer. These two chairs are made out of 15 pounds of wax and are designed to be burnt to the ground.’


Jeppe Hein Water Flame, 2006
‘Water Flame is an installation that combines two opposing elements in a spectacular yet minimalist design: a small vertical jet of water with a flame burning from the highest point.’


Nathan Coley Tate Modern on Fire (2017)
‘We were in Paris, and had just finished lunch when my brother messaged me to ask if I had heard the news, about the fire. I got back to him saying that wasn’t something to joke about. He sent me a link to it on BBC news, and the terrible images were in my hand. I sat in shock, with tears in my eyes, at the sight of the flames ripping through the roof, and thick black smoke engulfing that so familiar building. How could this be happening? We couldn’t stop looking. It was irresistible, compulsive. Perhaps the most shocking thing about the image was its inevitability —unbearable and unbelievable but also as if foretold.’


Dalibor Martinis Eternal Flame of Rage, 2013
‘The project generates procedures of those acts of rebellion that take place irregularly but frequently at the periphery of big cities, and as a rule, are embodied by a burning car. It seems that this fragmented, pre-political, and unconnected expression of rage needs a burning car as a common sign. By performing the “artistic” action of burning a car, we intend to appropriate all such acts of dissatisfaction, rebellion, and rage that have already happened or will happen in different circumstances and different places. By placing this action in the context of art, we will maybe understand all the future car-burnings as parts of some more clearly structured conceptual framework. At the same time, we return back to the public space and social memory all those burning cars which burned, or will burn in Paris, Kairo, Baghdad, Berlin or Rio de Janeiro.’




p.s. Hey. ** Tosh Berman, Hi, T. Oh, how and interesting about the board game section at Amoeba. Huh. You undoubtedly know this, but Paris is littered with places like Game Häus Café, although they’re hardcore enough to not even be cafes. And they’re packed every day with kids, teens, and ‘nerdy’ adults playing board games. They’re beautiful to peek into. With the vinyl revival, the board game’s return makes sense, I guess. Huh. ** David Ehrenstein, I feel like almost every kid of at least one if not a few generations played Monopoly. Me too. ** Sypha, Hi, James. Yeah, I hear you. I think for the reason I mentioned yesterday I’m going to watch you and Steevee discuss that stuff and read along with interest. I was into board games a fair amount for a phase, but I weirdly never played Clue, I don’t know why. It seems like one of the games that makes great, full use of the medium. ** Dóra Grőber, Hi! Oh, wow, I’m massively honored and even blushing a bit. Gosh, Dóra, that’s so cool. I hope the guy asks around thoroughly for you, fingers crossed. A day that makes you sleepy by 8 pm is usually a pretty good day, I think. Well, I guess a day full of horrible things could make you sleepy too. Never mind, ha ha. My day predictably was 90% involved in color grading the film. We finished the second pass, watched it, and now we’re getting into more detailed work, so it’s definitely on its way to being right and should be ready by our Friday deadline. Otherwise, … not much. The usual. This and that. Nothing bad. Today will probably follow suit, but one never knows. How was yours? ** Jamie, You should invent a board game. I remember trying to invent one years ago. Unsuccessfully, it seems. We have a board game in our film. A real one, German, called ‘Niagara’. Originally it had a small but solid place in the film — two main characters play it in one scene — but its part got cut way down. I don’t know what my faves would be, hm. I always liked games that had boards that had relief on them, like relief maps. Hills and valleys and terrain and things. ‘PA’ is pretty great. It’s not scary though, unless you’re easily scared. It’s colorful and festive, Disneyland-ish in terms of being heavily themed, and it has some killer rides. Anyway, yes. The 31st! It’s a date! Monday was grading and grading. We’re getting closer, yes. Like I told Dora, we’re starting to work on more detailed things, lightening dark details and slightly altering the colors of specific things. It’s looking good. I’m very excited. I can’t wait until people get to see the finished film. I’m really proud of it. I always thought those scheduled pill boxes were really cool. I’m sure they’re not, but there’s something wonder-filled about them. But I always knee-jerk associate pills with recreation. I hope the perfect balance is achieved inside you really, really soon. I’m sorry that yesterday didn’t feel or act like heaven. It’s good to shoot high, though. Was today more slightly heavenly? Movie coloring today for me. And the temperatures are supposed to skyrocket, horrifyingly. That’s my agenda: film stuff and trying to block out the sun. Love in the deep shade, Dennis. ** Steevee, ‘Okja’ gets a theater release here soon, maybe even already. I did see that Facebook post, yes. I’ve always thought ‘It’s Only Rock ‘n’ Roll’ is really overrated. One of those albums like Dylan’s ‘Blood on the Tracks’ where an artist starts suddenly sounding like themselves again after a string of crappy albums, and everybody’s so grateful that they cherry pick it. But I haven’t listened to it in ages. And given almost everything then did subsequently, it probably does sound like a last hurrah. I do remember thinking the production sounded too sterile. ** S., Ace Frehley still plays live and stuff? Huh. Why not? I guess the escorts around there are sitting at their computers? Mostly? ** Bill, Hi, Bill. Wow that was fast. I guess it just seems fast. You + LA, I mean. I do know Darin Klein, huh, cool. I haven’t seen him in yonks. I’m glad LA treated you like relative royalty. And the Mudd thing went okay? Hope your hour-long flight home was dildo-shaped peace on earth. ** _Black_Acrylic, Ha, nice call on the Kippenberger thing. We getting a heatwave too starting today, a two day-long one, the weather people are promising. Best of luck with yours, man. That compendium book of your zines is superb news! And the Seattle show. Things are hopping! Yes, keep us posted. ** Misanthrope, I do remember that video, yes, sir. I will join the meet up if I at all can. I’ll figure out whether I can when the things get closer and cemented. Your ‘latter’ diagnosis sounds right. Don’t kick anything. Or anyone. ** Paul Bauman, Hello, Paul Bauman. Welcome! Very germane and not the least bit shameless. I will personally check that out when I get back from work, and … Everyone, Paul Bauman has brought us something both relative to yesterday’s post and enormously interesting looking in and of itself. Titled ‘This is not a gas mask’, it can be experienced here. Thanks very much! ** I reopened my galerie today in order to hopefully entertain you with a show themed around fire. Stroll through and about please. Thank you. See you tomorrow.


  1. The post-EXILE ON MAIN STREET Stones were really hampered by the fact that Keith Richards was way more interested in heroin than songwriting at that point, and Jagger wasn’t really capable of holding up the entire burden himself. However, on most of IT’S ONLY ROCK’N’ROLL, the band sounds startlingly lively, far more than they do on GOATS HEAD SOUP – there’s a Lester Bangs review of that album where he relates a story about Richards being so out of it that he spent 10 minutes trying to play a guitar solo on a bass guitar before realizing what he was doing during its recording – and BLACK AND BLUE. And I think the title track is one of their best singles ever. I actually wound up listening to several Stones albums in a row yesterday afternoon as I was finishing my edit of the Bryan Fogel interview, and while it sure suffers in comparison to LET IT BLEED and STICKY FINGERS, it struck me as a perfectly good album on its own terms. I think I’m starting to sound like a 65-year-old baby boomer.

    Unfortunately, the Mario Bava film I saw last night was shown in a print that had completely faded to pink. It may as well have been black and white, and his exquisite sense of color (really shown off in the new restoration of KILL, BABY…KILL! currently being released theatrically in the U.S.) was impossible to make out. But I’m seeing FIVE DOLLS FOR AN AUGUST MOON and FOUR TIMES THAT NIGHT over the weekend.

    I’m also watching Alan Clarke’s ELEPHANT this evening (on DVD) and beginning my article on him.

  2. Hi!

    Thank you for today’s post! I really liked Claudio Parmiggiani’s piece (even though my heart aches for all those books…) and I found Goran Bertok’s ‘The Visitors’ disturbing, yet deeply fascinating. Which ones do you like the most?

    I do feel honored too, to be able to wear it on my skin! I’ll send you a picture when it’s completely healed!
    Thank you! I really hope so too!
    God, it’s so inspiring and exciting to read about the progress you’re making with the film every day! Did today follow suit?
    My day is good. Quiet but good. I’ve been mostly working on SCAB and our next trans group. It’s on Saturday – hopefully, we’ll be able to get in the room this time…
    I hope you had a lovely day, Dennis!!

  3. Hey Dennis, so much to love today! The piece with the flame and water jets is really lovely.

    I’ve been thinking of fire a lot lately. Awhile back I was unsuccessfully shopping around a proposal for a little interactive piece with an open flame; I guess people are not keen on all the trouble of hosting pyromaniac work unless it’s like Maurizio Cattelan, haha. I suppose I’ll try a few experiments in my backyard and hope nobody calls the fire department.

    On a related note, have you come across Michael Maierhof’s Exit F, for hot air balloons and ensemble? https://www.youtube.com/watch?v=N2I-dKUyB4M

    I remember Alex Rose was burning some of his pieces for awhile; can’t find any of it online though.

    The Mudd thing went ok, very inspiring though intense. I didn’t have much left in me to explore Claremont while I was there.


  4. A nice review of a new book about Ashes’ early years

    I have “Five Dolls For an August Moon” on DVD. It’s quite strange.

  5. Good morning, Denysius!
    This is one of those posts where I like absolutely everything, but who doesn’t like fire? (I guess a lot of folk actually, but you know what I mean.) The wifi on this train means I can’t watch some of the videos, but just the list of explosives used in Cai Guo-Qiang’s Mystery Circle excites me a lot. I’m so watching that when I get home. Thank you!
    Man, I’m excited that you’re so excited about your film! As Dora says, it is inspiring and a pleasure to read your words about it, and an education. How was Tuesday’s dip in the lake of colour? You get up to anything else?
    My board game is going by the working title of ‘Murderers’. Should be a hit.
    And yh, I agree with you about the pill-boxes, tbh. Even though mine contains mundane medicine there’s still a magic there. I was well pleased when Hannah’s parents bought it for me, also it has the days and times in Dutch and French rather than English, so it’s even better.
    Today was a little bit more of a heavenly work day, ta for asking. I spent most of it looking over various cartoon’s palettes and composing careful emails to our illustrator. Close to heaven! You’d be surprised how few modern cartoons use bright colours, or I was anyway.
    How’s that heatwave? It’s very sunny here now, but it’s really making the view of the coast from this train look lovely.
    May you have a Wednesday so exquisite all other Wednesdays hang their heads in shame.
    Gondolic love,

  6. Coop de force! (not as good as ‘infinite loup’ but hey, I do what I can)
    A shit-hot day, my friend. So many good things!
    Love Cai Guo-Qiang; we saw a very beautiful piece from him at the Fondation Cartier a while back, which he did, as he does most his stuff I guess, with gunpowder(and then other stuff).

    Hey, have you seen Paterson? Just saw it and thought of you, because of the poems by Ron Padgett. Well, not just because of that – it’s just such a lovely, sensitive piece. Admittedly I find it hard to not really really like anything that Jarmusch does, but anyway, I did love it. And Adam Driver is such a brilliant presence. Plus, after years of deploring the distinct lack of dogs in Jarmusch’s movies, here comes a goofy bulldog. How could I not be sold.

  7. This is going to get very personal very quickly, but I am in an intensely melancholy mood. I’m not sure what came over me, but I saw my psychiatrist today and I spent almost all of our appointment crying. (It’s actually pretty unusual for me to cry over my own emotions – most of the times I’ve cried in the past few years have been while watching cable TV news coverage of terror attacks.) I feel like about a year of my life was basically wasted due to my struggles with addiction and mental health, and I will never get it back. I am in a much happier, healthier and more stable place now, but at this very moment, I sure don’t feel so happy. During all that time, I constantly worried that these problems would destroy my able to write. I was amazed that I could write cogent film reviews during drug withdrawal and during manic states. I don’t think I’ve ever fully processed these emotions. I don’t know how to do it. And all this is weirdly tied up with the political climate. I watched the inauguration of Donald Trump in a cafe, going through withdrawal, and thinking “This is one of the worst days of my life.” For a long time, I was so angry at him, but incapable of going to any protests because of the mental and physical state I was in – I just sat at home, listened to Run the Jewels and thought about how angry I felt and how I wished I could do something productive about it. (I did eventually start going to protests towards the end of January.) When you see GET OUT, you’ll understand what I’m referring to here: there are several scenes where the main character is hypnotized and suddenly feels like he’s buried 10 feet underground – in what he refers to as the “Sunken Place” – and can only communicate to other people through a distant video monitor. When I saw the movie, I thought “this is a great metaphor for how I’ve felt the past few months, especially when I was going through withdrawal repeatedly.” I had a long conversation with my father about this stuff, and he was basically completely freaked out that I’m even still thinking about things that happened in my past, especially since the present is so much better. But I feel like I’ve got to deal with this stuff somehow, or it’ll ruin my present, and I have no clue how.

    • My psychiatrist was not very helpful today, but I think he was freaked out by how odd I was acting. I E-mailed him tonight about making an appointment a week from today. I think I really need help dealing with all the stuff I just laid out.

  8. This is a fine show, and it’s about a subject that must be up there with the trickiest to depict in all art. I was thinking about the Ed Ruscha painting The LA County Museum on Fire because it’s one of my fave artworks but yeah, maybe it would be a bit obvious.

    The Dundee heatwave seems to be abating as we’re forecast rain tomorrow, so I’m happy we got off fairly lightly. Hope Paris is bearable just now. Is it?

    • That’s a heatwave? Maybe I’m looking at the wrong thing, Ben, but man, those are some cool temperatures I’m seeing for the past week in Dundee. Where I am, it’s been 90-95 degrees Fahrenheit (32-35 degrees Celsius). Or is it usually much colder in Dundee this time of year? I’m curious.

      Okay, I looked it up. It is usually about half as hot there in Dundee this time of year. Really interesting.

      It’s pretty scorching in Paris, though. They’re almost as hot as we are. We’re looking at over 35 degrees Celsius going into the weekend.

      Man, I hope it’s back down to its historic average when I’m there next year. 😀

  9. Dennis, I think most people would probably think of water when they think of Art. Seascapes, ports, harbors, piers, docks, ships, etc. That makes fire even more interesting, though water can be as destructive -or even more so- as fire. You know I love the Galerie days.

    Well, I read up on gout, and it seems it comes on quickly and then will go away just as quickly, especially if it’s a first incident. This toe of mine came on slowly, I can even remember when I tweaked it in the gym. And now it’s slowly going away. No more pain, but it’s tender and a bit swollen and bruised still. Thanks for the well wishes.

    Oh, and no kicking. 😛

    Ace Frehley is still performing. I looked him up a while ago, for some reason. Still as crazy and drugged up as ever. I don’t think he even talks to the other guys in the band. Kind of an interesting guy. My brother and I loved kiss growing. His guy was Gene Simmons, mine was the Spaceman.

  10. im like i dont know about it. this place is so 80s probably should go. joe walsh plays here. i guess you rock til you fall over. need to score a couple boys here and the scene will be dead to me. need to figure how to buy a parrot. maybe ill fall in love. creepy shit like kr wrote cant get no here.

    whatd the crack lighter say to the crackpipe
    i will be the flame
    then the fingers went ss
    or was it just the rock xo

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