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Little Annie Midlife Lazarus
‘As befits a lady who once joked that her autobiography should be titled It Seemed Like A Good Idea at the Time, Little Annie always lives in the moment. As a result, her art feels both fresh and timeless, no matter where, when, or with whom she makes it. Born Annie Bandez, she grew up in Yonkers, a New York City suburb two miles north and a world away from Manhattan. Movies and music—Sinatra and the Supremes, West Side Story and Song of Bernadette—stimulated her imagination and shaped her aesthetic. At 16, Annie bid adieu to “the Sixth Borough” and dived headfirst into downtown New York’s music scene. She lived at the Chelsea Hotel and went to the opening of Studio 54. A late ’70s Suicide performance at CBGB’s blew her rapidly-expanding little mind and taught her to never settle for mediocrity. Following a chance meeting with CRASS guitarist Steve Ignorant, Annie accepted his invitation to visit England, where two weeks became a month and eventually thirteen years. Whilst living at CRASS’ commune in Epping Forest, she cut her first single as Annie Anxiety. Created with Penny Rimbaud, Barbed Wire Halo (1981) boasts a pair of claustrophobic tape-loop collages interlaced with Annie’s unnerving vocals. From there she entered the orbit of UK dub innovator and On-U Sound label boss Adrian Sherwood. “I kept hearing about this madman who was doing 60-hour sessions,” Annie later recalled.”Adrian and I met, and within half an hour, I was doing 60-hour sessions with him, too.” She soon moved in his converted garden shed and became “Auntie” Annie to his children. Working with Sherwood, his wife Kishi Yamamoto, members of Tackhead, and the extended On-U Sound family, Annie crafted three remarkable albums— Soul Possession (1984), Jackamo (1987) and Short and Sweet (1992)—that stir deep reggae grooves, leftfield electronics, and Annie’s acute lyrics into post-punk’s sonic sea of possibilities. Her towering Rastafarian cohorts re-christened their diminutive colleague “Little Annie.”‘ — Tin Angel Records

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Rhys Chatham Pythagorean Dream I
‘For Pythagorean Dream, Chatham revisits the pre-rock part of his career, building upon ideas Terry Riley introduced in the 60s. And Chatham’s experimentation in minimalism goes far, far beyond just looping and layering; tuning plays a key role as well. Tuning, in fact, is behind the title of this album; Chatham applied Pythagorean tuning (just intonation based on perfect fifths, each tuned in the ratio 3:2) to his guitar. In doing so, he adds another wrinkle in this unique combination of methods and instrumentation in order to forge unique music where the ingenuity of it can’t be read on sheet music because it’s all in how it’s put together. All instruments here are played by Chatham; there are no “100 guitars,” it only sounds so. There are also flutes and a trumpet, other instruments in which Chatham is proficient. Using the looping/delay effect pioneered by Riley, Chatham figures ways to make them resonate in beautifully odd ways.’ — Something Else

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Moonface and Siinai Risto’s Riff
‘While his last few releases as Moonface have been solo affairs mostly comprising contemplative piano ballads, the upcoming My Best Human Face finds Krug once again teaming up with Finnish krautrockers Siinai. Lead single “Risto’s Riff” rocks harder than anything Krug has ever recorded under the Moonface name, riding a crisp motorik groove straight into an explosive chorus. And honestly, it’s exhilarating just to hear that voice fronting an actual rock band again. As Krug explains: “This song originated with a pleasingly simple riff from guitarist Risto Joensuu, hence the name. For a long time it had a down-tempo, nitty-gritty-rock’n’roll kind of vibe that ultimately left us unable to finish it in a way that we liked, though we weren’t exactly sure why. It was like maybe we were making a song for our dads, not ourselves. But then in the recording studio we changed the beat and started playing it really fast instead, and within an hour the music was finished and put to tape. And then we had a round of high-fives. Not literally, but emotionally. Like with our eyes. Eye-fives.”‘ — Stereogum

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Rhythmic Theory Longevity
‘To the outside world Rhythmic Theory appears to operate with a shroud of mystery around him, but to us he’s a long-standing patron and parental figure in the development of Idle Hands. From the first strains of murky, UK-rooted techno that emerged from his enviable studio, it was clear that this was an artist who had finally found that elusive creative purpose in which to channel his imagination. Now after bearing down heavy on our own label, his own label, BRSTL, Happy Skull, Ancient Monarchy and A14 over the past four years, it’s a true pleasure to be presenting Rhythmic Theory’s debut album. You can never be sure quite how an artist will tackle the challenge of the long player, but the Bristol scene stalwart has delivered a concise artistic statement that builds on the themes laid out in his prior singles while capitalising on the wider space in which to express himself. The strings that linger in the upper reaches of the frequency band on “Longevity” call out to the sci-fi yearning of early Detroit techno, but laced with a very British bitterness.’ — Idle Hands

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Oreo Jones Goldust
‘Jones has clearly found gold in the fertile Fountain Square music scene he’s been mining over the last couple years. Cash For Gold shines brightly from the effort. It’s a superb LP and a satisfying follow up to Betty, expanding on that album’s best attributes while developing richer textural nuances both musically and lyrically. This record cements Jones’ position as the most artistically ambitious rapper in Indy, and also establishes the emcee as an artist who has chosen not to ignore the the struggles besetting the impoverished residents of Indianapolis neighborhoods like Fountain Square.’ — NUVO

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Nasa Space Universe Tiny Tim Allen Wrench
‘Nasa Space Universe have an element of bonkers about them. Since 2006, the Santa Ana punks have built a reputation for producing chaotic and fast hardcore with a strong weird/odd bent. Taking incomprehensible and wacko lyrics that blended science fiction and back-seat-tour-van observations on life, the four-piece play a nonsensical but raging style of punk. Their live shows are more akin to European soccer matches with flares and a whole lot of ruckus. But after ten-years the bruises were aking longer to heal so the four piece are calling it a day, their swan song 70 AD released this week on Feel It records.’ — Tim Scott

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Sculpture Untitled
‘Sculpture is the duo of electronic music producer, Dan Hayhurst, and animator, Reuben Sutherland – manipulating physical and digital media into energetic amalgams, inspired by a continuum of exploratory practice in music and abstract visual art while following their own idiosyncratic vision – a DIY aesthetic encompassing auto-­production, pop music, noise, comic strips, abstract film and animation, collage and polymorphic techno. Live performance is integral to their work. Sutherland’s visual turntablism employs a library of zoetropic cards, printed with intricate patterns of illustrated frames which come to life when filmed with a video camera, projecting looping fragments of surreal, luridly coloured imagery into eyeballs and brains at 25 frames per second – mechanical imaging technology combined with digital video and software based practice, operating like a musical instrument. Hayhurst feeds tape loops, lo-fi electronics, and digital sequences to a battered reel to reel tape recorder, CDJ deck, walkman, sampler and FX units. Balanced on the edge of control, the resulting polymedia overload is raw, exciting, the process visible to the audience, experimental and joyous.’ — Tapebox

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Maarja Nuut ÕDANGULE
‘Maarja Nuut’s practice of stripping things down to the most basic of musical propositions has, conversely, allowed the album to inhabit a colossal headspace. The relentlessly hypnotic, repetitive qualities that drive brilliant cuts like ‘Hobusemäng’ seem to be drawn from a restless never-sleeping otherworld. After a few spins of Une Meeles (especially when tuning into tracks like ‘Kellatoas’) you become aware that all ideas of modern time, aren’t that welcome or really necessary. This isn’t really surprising as Nuut has admitted that her mission is to explore the emotional spaces the border on the conscious, waking state. A track like ‘Siidisulis Linnukene’, for example, seems to form itself out of Nuut’s speculations whilst you listen. As if in recompense, our spatial bearings are marked out by a steady, “agrarian” sense of rhythm that then takes a number of diverse forms. These strange, incredibly simple rhythms exert a continual, and heady spell over the listener. Sometimes the spell is conjured up by patterns set up in the fiddle, sometimes it takes a cue from Nuut’s own foot stomping or hand clapping, or, most noticeably, through looped vocal lines; as in the spectral ‘Õdangule’.’ — Richard Foster

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Guided By Voices Hotel X (Big Soap)
‘Please Be Honest is, in all honesty, a Robert Pollard solo album. After reforming Guided by Voices’ “classic line-up,” which lasted between 2012 and 2014 (a period in which they released a staggering six full-lengths), Pollard has resurrected the GBV name, writing, recording and playing every instrument throughout this LP’s 15 tracks. Considering Pollard frequently puts out recordings under his own name (his 22nd solo album came just a month ago), it remains curious as to what exactly makes Please Be Honest a Guided By Voices album. The answer may reside in the character of the music contained within, as Pollard has managed to release some of his most exploratory and experimental songs since his band’s early ’90s days. It’s a relief that tracks like “Kid on a Ladder,” “Glittering Parliaments” and the title track come off big and brash without feeling dumb, employing singular and eccentric melodies that allow Pollard to freely fuck with their creative edifices. Pollard seems obsessed with guitar textures and vocal effects here, making Please Be Honest an intriguing success.’ — Pop Matters

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Ohal All Mine
‘In structure, Acid Park resists tautology and logos, flaunts that eternal reprise, that dual (ir)reverence that endears us to our imperfect modes of expression. Those old Spector-arranged, ready-digested pop jams slip their violent contexts, the Acme walls of sound tip over, smash on impact and bleed into the open air, becoming only more beautiful in doing so, as the lyrics to “Acid Park” exorcise the brutality at the heart of the classically romantic: “Holding our arms down/ Anywhere man goes.” As in, I could hold you down, girl. Acid Park is vaulted, unreliable terrain for exorcising the language of domination, where overlapping temporal modes and interstitial genre referents destabilize the unwavering brutality of the contemporary info-stream. Certain movements on the record make it hard to tell where you are within it, whether you are listening to a literal rework of something you heard earlier or merely the embossed shadow of an eternal trauma, manifesting in Acid Park’s raw particulate.’ — Tiny Mix Tapes

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Forest Management Night 2
‘As Forest Management, John Daniel records profoundly elegiac drifts of ambient music that disarms everything in its path. Deploying subtlety and utter focus as his weapons of choice, the Cleveland-based dronesmith plays his melancholic movements like a more colorful or sunlit take on frostbitten tones pioneered by Biosphere (at his more beat-less moments) and Deathprod, almost nixing the sense complete isolation for warm beauty. The Contemplative Life, issued back in February on the always-rewarding Cathedral Transmissions imprint, bobs along frigid waters with the modern, celestial ambiance generally reserved for Kompakt’s Pop Ambient series, namely Triola or Markus Guentner. Sky Image, also issued earlier this year but on Twice Removed, dials back the aural lamenting to four tracks on a three-inch CD-R and focuses more on texture studies and negative space.’ — Secret Decoder

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Burning House If You Won’t
‘Burning House’s debut album is a daunting prospect. Anthropecene clocks in at about 77 minutes, so listening in full requires serious commitment. And it does feel as though BH seek this level of focus from their listeners. Perhaps it’s the least that a band who have spent a year on the endeavour, and who were almost riven apart by the process should expect. The darkness and discomfort that Burning House battled through in creating this album runs through it in a rich vein of velvety blackness. Its scuzzy noise rock and dashes of wild MBV textures are a collision of comforting and caustic. On the dreamier side of the darkness, opener Mimosa is warm and fuzzy, like its namesake. The twinkling lights continue in the anthemic Mirror Song. The slow swagger of Souvenir calls to mind Mazzy Star. Its effects layer lightly. The whammy kicks in on If You Won’t for a full blown shoegaze workout.’ — Primal Music

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Cat’s Eyes Teardrops
‘It’s not the error it may seem calling Treasure House Cat’s Eyes’ third album: according to the duo, the score they composed in 2015 for Peter Strickland’s Duke Of Burgundy is by all means an equal element of the band’s discography, its influence tangibly present on this new work. After a first record mainly inspired by Badwan’s passion for girl groups of the sixties and the orchestral soundtracking closer to Zeffira’s own conservatory studies, on Treasure House they find an impressive balance: classical, symphonic music melds with garage and post-punk, giving credence to the cliché that opposites attract, outstanding in its complex sounds and arrangements. From the offset there’s a cinematographic atmosphere permeating the 11 songs that, together, form the architectural blueprints of Treasure House.’ — Guia Cortassa

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Extended Organ Hum Diddle Um Diddle Um
‘Extended Organ was formed in 1995 by Joe Potts, Tom Recchion, Paul McCarthy and me, Fredrik Nilsen, as an experiment in sonic interaction over a droning substate. Joe Potts provides an hypnotic, other-worldly undercurrent with his “Chopped Optigan,” a hybridized adaptation of a 1960s keyboard instrument that sources sounds from floppy optical discs. The group builds a music upon this substrate which moves through a sea of emotional currents. Though there is no conscious attempt to produce any particular mood, pathos, mirth, ambivalence, menace, and exasperation are expressed, sometimes simultaneously, producing something akin to a soundtrack for a nightmare. Through the decades that we have been playing together in a free improvisation format, we have developed instincts for how to play with and against each other, building aural structures and then undermining them. It can be an emotionally taxing experience which sometimes works very effectively and sometimes falls flat. It can also happen that, months or years later, we revisit the recordings and find them to work (or fail to work) in ways other than we’d first thought.’ — Fredrik Nilsen

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Second Woman 100407jd7
‘Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat’s-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.’ — Editions Mego

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Marcus Whale My Captain
‘Storytelling is made all the more gracious when the person telling the story is willing to tap into their own experience, and get personal. Perhaps Marcus Whale‘s biggest applause should be directed at just how exposed this project feels, sounds and actually is. Inspired by origin stories of queer identity and the colonial dispossession, Whale’s debut Inland Sea is a visceral journey sold through the sounds of crisp electronica. Having already put the solo debut on the map through the release of singles Vapour and My Captain, which discuss the challenging processes on the topics of race, gender and sexuality, Inland Sea holds themes that make this debut unique to any other because it’s willing and able to tap into social complexities. From its opening track Inland Sea, one thing calls present – Whale is going to own this project live. His voice holds elements of the smooth textures associated with pop music, but it’s the darker tones that compliment every track, and the story they tell, perfectly. The record partakes in the form of both classical and experimental sounds of electronica. One second you are being immersed in the sounds of some harrowing yet beautiful violin, the next we are being pounded through some thundering percussive work.’ — the interns

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p.s. Hey. Obviously shocked by you-know-what. ** _Black_Acrylic, Hi, Ben. Jesus, as I guess everyone is saying, I really didn’t think that would happen. So, what are Scotland’s options now to try to stay in the EU, and is that outcome realistic? Glad you got a little sleep at least, and I hope you feel notably improved today. ** New Juche, Hey! I’ve only read that one Erpenbeck, but it sounds like they’re all pretty great, so I would guess you could start with whichever one you find first. Unless I’m blanking, I don’t think I know Augieras? I’m definitely going on a hunt to see what’s what. Chiang Mai, yes, okay. I know of it, but I don’t have any image in my head. Well, of anywhere in Thailand. Zac and I have been talking about going to Thailand on one of our trip adventures, so we’ll see. It’s good you can handle very hot weather. I just can’t. I lose my mind. Yesterday here it was hot (for Paris) and very muggy, and I couldn’t do anything productive at all. Have a super Friday doing everything possible. ** Dóra Grőber, Hi! That spa is truly amazing. The building/architecture of the place is something else, hard to describe, very mysterious, and the building was chosen few years back as the best architectural work in the world by some survey of prominent architects. My yesterday sucked. Well, there was a good part in that I got to visit with three good friends visiting from the States, but otherwise … I started coming down with cold. It was really hot and awful outside. And my wallet got stolen with all my money and my ATM card and stuff, so now I have to mooch off my friends until a new ATM card gets to me, which isn’t until late next week. And then there’s the UK vote to leave the EU. So yesterday wasn’t good, let’s say. Your lazy day sounds pretty utopian to me at the moment, ha ha, so not bad. Did you get to work on your writing and scrapbook? And then there’s today: how was it? ** Tosh Berman, Hi, Tosh. As always, may pleasure! ** David Ehrenstein, Nice ‘Pirate Jenny’ cover by the great Ms. Faithfull. For me, Nina Simone’s is still the ultimate incarnation. Thank you! ** Steevee, Hi. Well, no surprise that I think your review is massively generous. Everyone, I am employing a neutral voice to tell you that Steevee has reviewed Refn’s ‘The Neon Demon’, and you can read it. Yeah, you can find bits of pre-punk Stranglers online, and let’s just say they made the right decision. ** Heliotrope, Mark! Holy moly! Hi, my old and dear buddy! I heard about the hot and smokey. I won’t complain about the hot and muggy here. Shit, it sucks that you haven’t been feeling so hot. I have a cold, a mere cold, but I will muster some kind of healing vibe-type thing from that muck and teleport to you. Man, I miss you! I’m trying to sort out an actual lengthy-ish LA visit. I was hoping for July, but work ended up tromping that plan, so probably September, I guess. I want to see you! Tons of major love to you, Mark, and, yeah, do not ever hesitate if this blog starts to feel like a whirlpool. ** Jamie McMorrow, Bonjour to you, buddy! I’m suddenly broke, and I have an increasingly nasty head cold, but I’m all right otherwise. Work stuff is good, I just have to find a way to use my stuffed up and slightly feverish head to get some of it done. Your second Pastels gig was here! Do you remember the venue? Fuck, I hope that at least you’re earning a welcome added amount of money for the extra-added responsibilities that you’re suffering under. Cool about the diary. I’ll read it! I fear that bird’s shit was rather a bad omen, I guess. Scary shit. I’m fine, other than my stolen wallet and blah health. Just working on stuff. Lots of love to you! ** Misanthrope, Her work is good stuff, man. Eek, huh, it’s kind of cool if it’s a dead person’s stuff inside you. Huh. No, it’s cool. Not that I envy you, though. It’s like cannibalism without using your mouth. Well, I strongly encourage your London/Paris plan, as you can imagine. But I’ll hold my tongue to avoid jinxage. ** MANCY, Hi. Oh, me too about those romantic ideas. I wish I had the tech and other savvy to try something in that realm. ** Bill, Hi, B. Yeah, can you believe it about the Brexit thing?! What the fuck is wrong with people over 30 years old or whatever over there? I’m glad you’ll get to give the poor UK folk who saw through the racist, nationalist bullshit propaganda some of your brilliance. ** Okay. I made one of my gigs for you today. That’s that. See you tomorrow.

In the early 1980s, there was this really vital scene of young poets, fiction writers, and artists of different kinds in Los Angeles. I was part of it along with a number of other young LA-based writers, some of whom went on to be well known and established literary figures. I happened to be the Director of Live Programming at the time for a literary foundation and performance space in Venice called Beyond Baroque. Because I had semi-control of that space and its facilities, it became kind of our writer gang’s headquarters. We did readings there, held workshops, invited writers young and old that we really liked from NYC, San Francisco, and elsewhere to give readings, and used the foundation’s typesetting equipment to make the literary zines that most of us were editing at the time. It was an exciting and super formative era for us.

In 1982, an aspiring filmmaker named Gail Kazinsky started coming to Beyond Baroque events. She was very interested by what was going on and asked us if she could make a documentary film about the writers and our scene. I guess we said yes, and she spent a few weeks filming at Beyond Baroque and offsite as well. For whatever reason, she decided to focus on a small group of writers within our larger group. The chosen ones were me, poet Amy Gerstler, poet/artist/performer Bob Flanagan (RIP), artist/performer and Bob’s partner Sheree Rose, poet Ed Smith (RIP), writer and musician Jack Skelley, and Jocelyn Fischer who was the Director of Beyond Baroque.

In the billing for the unfinished film that resulted, ‘Fear of Poetry’, poet David Trinidad is also listed as being in the film, but he doesn’t seem to appear in the surviving footage. Strangely, the New York poet/musician Steven Hall is featured prominently in the film, I guess because he happened to be hanging out with us. So perhaps Gail mistakenly thought he was David Trinidad? Just to give a larger context for the film, some of the other members of our young local writer gang whom you might know but who didn’t end up being included for unknown reasons include writer/artist Benjamin Weissman, NPR ‘Bookworm’ host Michael Silverblatt, novelist Jim Krusoe, poet Kim Rosenfield, and others.

Gail Kazinsky put together a rough cut of the film not long after she finished shooting and showed it to the participants and friends at a gallery in downtown LA. We gave her our feedback and then she was supposedly going to finish the film. Shortly thereafter, she moved away from Los Angeles, I think maybe to Chicago. After that, we never heard from her or had any news about the film again. We assumed she had abandoned the film and eventually assumed the footage was forever lost. But, very recently, some mysterious person uploaded the rough cut in multiple parts onto youtube. The quality, as you’ll see, is quite poor. I don’t know if that’s because the footage the person used is a late generation copy or if the original footage has just aged and decayed very badly.

The writer and theorist Diarmuid Hester suggested to me the other week that it might be a good idea to showcase the rough cut of ‘Fear of Poetry’ here, and, as you see, I have done that today. I’m not sure how interesting the documentary will be for most or even any of you, especially in such an unfinished and visually challenging form. For me, and I’m sure for the other surviving writers who are featured, it documents a period in our lives as writers and people that wound up being extremely important to us. A year after this film was shot, I moved to NYC, followed shortly thereafter by Ed Smith and David Trinidad, and, because of those changes and others, the scene documented in the film ended and evolved into something else. That’s the story. You can ask me for more details if you want. In the meantime, I respectfully foist this on you today.

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p.s. Hey. ** David Ehrenstein, Good morning, David. Thanks a lot for responding to the photos. ** Jamie McMorrow, Salut, Jamie! Yes, I saw your email last night! Thank you so, so much! Yesterday was a swamp for me, but I’ll have some free time this afternoon, and I’ll check out what you sent, and see if everything is clear, and I’ll write back to you. Yeah, thanks a ton, that’s very exciting! It was very, very cool to screen the film at Silencio. Being a Lynch-designed club, the theater there is, naturally, a top notch and great space. Wednesday was basically another day of non-stop work and meetings. There are a bunch of corrections we have to make, so the work load is heavier than we had hoped, but everything is due by Tuesday so at least I can look forward to some peace, I hope, right about then. Did you get to mess with your self-revealed song? So, it’s down to detailing stuff now? Cool! Have a splendid day with enough time to do at least a little of what you really want to do. Love from here and me. ** Bernard Welt, Hi, B. I discovered the Donald B. page on FB yesterday. Wow, it’s great! Who’s doing that? There’s a bunch of photos and stuff that I’ve seen before. Fantastic work on somebody’s part. I will, of course, pass along and promo the book event, for sure. I reposted ‘The Dark Side of Disneyland’ here not very long ago, a few months. I’ll make a new, ‘welcome to the world’ post, and I’ll probably swipe some stuff from the FB page, and if you have anything to spare for the post, that would be great. Thanks so much! ** MANCY, Hi, Steven! I’m good but way overworked but good! Really excited for that new project you’re hinting at on FB. If you want a birth post here to announce it or anything, I’d be only honored to do something. ** Tosh Berman, Hi, Tosh! Thank you! ** Bear, Hi, Bear! My week has been productive. Not much else, ha ha, but productive, yes, thank you. Thank you about the Keanu post. I think he’s a pretty cool and good hearted guy, yes. That’s great, great news about finding that space/venue! Congratulations, man! What a relief! Wonderful! How was the experimental dance piece that constituted your celebration? ** Dóra Grőber, Hi! Oh, boy, yeah, I can not wait until this project is finished and sent off to the powers that be. My brain is almost empty and operating on fumes at this point. Yeah, Silencio really isn’t weird. The cool things about it are subtle. Like there’s a stage area where bands and djs play that’s kind of a reference to the red room in ‘Twin Peaks’ with red curtains and stuff, but it’s very non-offensive. I mean, it’s a nice place, comfy, it’s just not mind-blowing in any way. I hope your busy school day did whatever school can do for someone with your larger than life talents. Me, I’ll be working non-stop yet again, but Zac and I do at least have a big meeting with the producer of our new film this morning where hopefully we’ll find out how and when we can start actually working on it. Take care! ** Steevee, Hi. Very, very cool about the Terrence Davies interview! I’m the wrong person to give you advice about that question, but let’s see if others have ideas. Everyone, Steevee would love some advice about something. If you have ideas, can you help him out? Thanks! Here he is: ‘I’m interviewing Terence Davies next Tuesday. Can you think of a productive way to ask about his sense of “gay shame” and his statements in previous interviews like “I will go to my grave hating being gay?” His first three shorts already touched on how miserable being gay makes him. I’m tempted to ask him if he thinks he’d still feel the same way if he were 20 or 30 years younger.’ Interesting about the new Eno. I admit I haven’t been intrigued enough to buy recent records by him in a while, but you’ve sold me on getting that one. Cool. I hope you woke up feeling ‘up’ enough to get the busy stuff accomplished. ** _Black_Acrylic, Howdy, Ben! Thanks for the great response! ** Chilly Jay Chill, Hi, Jeff! Thank you again so much! And sorry about initially leaving out some of the photos. I must have been a little spacey when I assembled the post originally. Wow, 10 days. You should really get to know the place then. Nice. I’m way excited about the new ‘Twin Peaks’. There hasn’t been a shred of leaking info that hasn’t made it seem very, very promising. Ozick: I tried reading her, a couple of books, back in the late 80s when it seemed like a lot of smart people were reading and recommending her, and, a the time at least, it didn’t do very much for me, to be honest. Why, I don’t know. If you read her, I would be curious to know if I should try her again. And thank you so much for the venue-related emails! That place looks really good to me, and I forwarded the mail onto Zac, and I’ll be seeing him this morning. I’ll see what he thinks, and then I’ll write to you today. Really, thank you, Jeff! ** Armando, Hey, man! Really nice to see you! I’m in Paris. Wait, you’re in LA! Wow, that’s very cool. To check out? Hm, where are you staying? Amoeba Records, Museum of Jurassic Technology, MoCA or LACMA if there’s anything good there, … I’ll have to think. The house I grew up in? It’s in this city/LA suburb in the San Gabriel Valley called Arcadia. The address is 995 Hampton Road. I’m co-writing a possible TV series with Zac for Gisele Vienne to direct. It’s about a ventriloquist and her puppet. We’re getting the script and proposal ready to submit to the TV channel ARTE right now. Love and hugs right back to you! And have tons of LA fun! ** Bill, Hi, Bill. Yeah, Howard’s end was very sad. It was rough. And, yes, incredible how much things have changed. Have a great one, B! ** Okay. So, like I said up above, there’s an unfinished, in bad shape documentary about my and other young writers’ formative days in LA, if you’re interested and if you can bear the awful shape that the footage is in. See you tomorrow.