‘V.I.P. Records’, Long Beach, CA

 

‘The Tape and Record Room’, Long Beach

 

‘Rhino Records’, West Los Angeles

 

‘Wombleton Records’, Los Angeles

 

‘Tower Records’, West Hollywood

 

‘Moby Disc’, Sherman Oaks, CA

 

‘Licorice Pizza’, Hollywood

 

‘Aron’s’, Los Angeles

 

‘House of Records’, Los Angeles

 

‘Peaches’, Los Angeles

 

‘Wallachs Music City’, Los Angeles

 

‘Bomp! Records’, Los Angeles

 

‘Turning Point’, Glendale, CA

 

‘Tower Records’, Newport Beach, California

 

‘Penny Lane’, Pasadena

 

‘Downey Blues’, Downey, CA

 

‘Middle Earth Discount Records and Tapes’, Downey, CA

 

‘Title Wave’, Apple Valley, CA

 

‘Record Theater’, Buffalo, NY

 

‘Home of the Hits’, Buffalo

 

‘Billups Records’, Buffalo

 

‘Ruda Record Store’, Buffalo

 

New York City

 

unknown, New York City

 

‘Bleeker Bob’s’, New York City

 

‘Crazy Eddie’, New York City

 

‘ethereal’, New York City

 

‘Bloomingdale’s Record Department’, NYC

 

‘FreeBeing Records’, New York City

 

‘Future Legend’, New York City

 

‘Lunch for Your Ears’, New York City

 

‘Rocks in Your Head’, New York City

 

‘second coming’, New York City

 

‘Stooz Records’, New York City

 

‘Subterranean Records’, New York City

 

‘disco-o-mat’, New York City

 

‘Hospital Productions’, NYC

 

‘Rebel Rebel’, NYC

 

‘Ear Wax’, Williamsburg

 

‘Discos Medellin’, Queens, NY

 

‘Vinyl Mania’, New York City

 

’99’, New York City

 

‘Wowsville’, New York City

 

‘Cool Runnin Inc’, New York City

 

‘Dance Tracks’, New York City

 

‘Pantasia Recordz’, New York City

 

‘Zig Zag Records’, Brooklyn

 

‘Italian Records’, Brooklyn

 

‘Rockin’ Scientist Records’, New York City

 

‘Other Music’, NYC

 

‘Bobby’s Happy House Records’, NYC

 

‘Cutler’s Record Shop’, Westport, Connecticut

 

‘Wax Trax’, Chicago

 

‘Rose Records’, Chicago

 

‘Hegewisch Records’, Chicago

 

‘Shooting Stars Records’, Chicago

 

‘Record Revolution’, DeKalb, Illinois

‘Record Time’, Ferndale, Michigan

 

‘Camelot Music’, North Carolina

 

‘Polliwog Records and Tapes’, Duluth

 

‘Revolver Records’, Bristol, UK

 

London

 

‘SelectADisc’, London

 

‘The Soho Record Center’, London

 

‘Sleeves’, Kirkcaldy, UK

 

‘Disc World’, Manchester

 

‘Beat Goes On’, Cambridge

 

‘Andy’s Records’, Cambridge

 

‘Reckless Records’, London

 

‘Hudsons’, Chesterfield, UK

 

‘Vinyl’, Stockton upon Tees, UK

 

‘ABC’, London

 

‘The Ultima Thule’, Leicester, UK

 

‘Bonapart Records’, Croydon

 

‘Violet May’s’, Sheffield, UK

 

‘Paris – Phono’, Paris

 

‘Bimbo Tower’, Paris

 

‘Virgin Megastore’, Paris

 

Les Mains Noire, Paris

 

‘La Plaque Tournante’, Paris

 

unknown, Brussels

 

‘Bass Cadet Record Store’, Berlin

 

‘Bikini Waxx Records’, Berlin

 

‘Marquee Moon’, Florence, Italy

 

‘Flipside Records’, Kalamazoo

 

‘Salty’s Record Attic’, Modesto, CA

 

‘Missing Link Records’, Melbourne

 

‘Gaslight Music’, Melbourne

 

‘Batman Records’, Melbourne

 

‘Dragonfly Discs’, Melbourne

 

‘Au Go Go Records’, Melbourne

 

‘The Last Record Store’, Melbourne

 

‘Pier Platters Records’, Hoboken

 

‘Gusman’s’, Savannah

 

‘Graysons’, Louisville

 

‘Cellophane Square’, Seattle

 

‘Easy Street Records’, Seattle

 

‘Silver Platters’, Seattle

 

‘2nd Time Around’, Seattle

 

‘Absolutely Perfect Records’, Portland

 

‘Sound Exchange’, Austin

 

‘Top Ten Records’, Dallas

 

‘VVV Records’, Dallas

 

‘Ashley’s High Speed Boogie Shop’, Corpus Christi, TX

 

‘Oarfolkjopolis’, Minneapolis

 

‘Hot Licks’, Minneapolis

 

‘Garage D’Or’, Minneapolis

 

‘Tatters Platters’, Minneapolis

 

‘Holiday Shop Record and Camera Store’, Roeland Park, Kansas

 

‘Orpheus Records’, Clarendon, Virginia

 

‘Discolandia’, San Francisco

 

‘Asta Records’, Oakland

 

‘Rasputin’s’, Berkeley

 

‘Rather Ripped’, Berkeley

 

‘Tower Records’, San Francisco

 

‘Rooks and Becords’, San Francisco

 

‘Music Village’, Mill Valley

 

‘Wax Trax’, Denver

 

‘Aboria Records’, State College, Pennsylvania

 

‘Eastside Records’, Tempe, Arizona

 

Coconuts, Oklahoma City

 

‘Coachman’s Records’, Detroit

 

‘White’s Records’, Detroit

 

‘Mojo Music’, Boston

 

‘Book & Record’, Duluth, Minnesota

 

‘Vogel’s Records’, Elizabeth, New Jersey

 

‘Road Records’, Dublin

 

‘Caroline Records’, Dublin

 

‘Comet Records’, Dublin

 

‘Burn Out’, Hamburg

 

‘Disco Mahgreb’, Oran

 

‘Discos’, Lisbon

 

‘Dravens’, Butte, Montana

 

‘Melody Record Shop’, Washington, DC

 

‘Mars Red Music’, Haddon, New Jersey

 

‘The Harmony House’, Grosse Pointe, Michigan

 

‘Pot o’ Gold Records’, Binghamton, New York

 

‘Sam the Record Man’, Toronto

 

‘Record House’, Athens, Greece

 

‘Real Groovy’, Wellington, New Zealand

 

‘a & b sound’, Vancouver

 

‘Hatboro Music Shop’, Hatboro, Pennsylvania

 

‘Plato’, Rotterdam

 

‘Wiz’, Philadelphia

 

‘Stan’s Record Shop’, Shreveport

 

‘in flight’, East Lansing, Michigan

 

‘Record Revolution’, DeKalb, Illinois

 

‘Schoolkids Records,’ Athens, Georgia

 

‘Rockit Records’, Saugus, Mass.

 

‘Satellite Record Shop’, Memphis

 

‘Coconuts’, Tampa Bay

 

‘Turtle’s’, Augusta

 

‘Turtle’s’, Atlanta

 

‘Akashic Records’, St. Louis

 

‘Check It Out’, Brockton, Massachusetts

 

Pittsburgh

 

‘Stackhouse Records’, Clarksdale

 

‘Young at Heart Record Shop’, Duluth

 

‘Mister Groovys’, Jackson, Mississippi

 

‘Zero Street’, Lincoln, Missouri

 

‘Ludwig Van Ear’, Milwaukee

 

‘Budget Tapes and Records’, Bismarck, ND

 

‘Pasha Poi’, St. Paul

 

‘Hart’s Records’, St. Paul

 

‘Northern Lights’, St. Paul

 

 

*

p.s. Hey. ** adrian, Hi, a! No, no, I’m into coincidence too. ‘Nevada’, okay, I’ll hunt it, thanks. Yes, I have the thesis proposal. I’m sorry I haven’t gotten to it quite yet. We’re in the middle of heavy post-production on our film, and everything else has gotten waylaid more than a bit. We’ll be finished soonish, and I’ve got it set to read as soon as I’m in the clear. And excited to read it, need I even say. I’m glad that Amsterdam has improved for you. Paris is reliably fine, or at least the stretch between my apartment and the post studio, which is pretty much all I’m getting to view right now. Lovely to see you! Anything else especially fruitful going on? ** Dominik, Well, it was illegal driving until I was 15 1/2 when you can drive legally if you’re sitting beside an adult and then finally on your own at 16. Driving is very relaxing. It’s weird, as it seems like it would be the opposite to non-drivers, but, once you ace the mechanics, it puts you into a zone. I’m trying not to overestimate pigeons which is challenging because they’re such lovable underdogs among the bird set. Did love solve that little mystery? Love finally at peace with the fact that he’s a total weirdo, G. ** Jack Skelley, Credit is entirely Thomas’s. Branca was a singular sonic ruler. Right, Benj read, glad you caught it. Wild line up! Someone told me that Harmony Korine’s new film is only going to open/play in LA at Jumbo’s Clown Room. I wonder if that’s true. I sure hope so. ‘Oppenheimer’ is on my no-fly list, or rather on my in-flight only list, and even then barely. Yours, Kate Braverman. ** _Black_Acrylic, Yes, err on the side of caution. Winter can be very sneaky. Oh, PT2 was ecstatic and illustrious. I’m so happy to have it back! ** Dee Kilroy, Hi, Dee! All credit to Mr. Moore. My leg steps a little more firmly and sans unpleasant sensation every day. Now I’m waiting for it to get roller coaster friendly again. How are you? What’s going on? ** Mark, Ha ha, I actually had a dinner with Cage (amongst other people) once and he was sweet as pie. But he was eating, and you know what they say about food. I’m glad you’re not deluged. No one else I know in LA is deluged, so the odds seem to be in favor of your relative dryness. I have to admit, it sounds exhilarating. ** Uday, Me too about walking in LA. As in … My LA apartment is in Los Feliz, one of those few hoods where you can walk to pretty much whatever you’d want. Except, you know, exciting things. Nice that your funeral served its purpose. My friend the performance artist Sheree Rose did a funeral for herself as a performance not so long ago. It sounded like was more like a celebrity roast with a prone victim. Uh, my weekend was mostly a nonentity, but that was good because the week is work work work. And your week to date? ** T, Oh, cool! PE is in late March. I think Zac and I are going on Friday and Sunday. I think we’re getting tickets later this afternoon. Hit me up today if our plans coincide and I can pick up a ticket for you too if you like. xoD ** Steve Erickson, That could put the fear Branca into you, yeah. Everyone I’ve communicated with in LA is only slightly more moist than usual, so far. ** Guy, Hi, Guy. Yes, I’m trying to see if I can get that short fiction collection to work. I got close to finishing one of the long pieces, and that makes the whole thing seem more possible, so that’s good. Aw, thank you so much. It going to be a weird short collection if I can manage it. Odds and ends, experiments, pretty transgressive. No, I did not receive the poem. Are you sure you have my right address? [email protected]. There was nothing from you in my mail as of this morning. I hope to get to read it. Sorry for the hassle. Love, me. ** seb🦠, Ah, you’re in slumbering mode again. It must be fate, no? I’m fine, just working on the film in hopefully the final stretch. Your weekend beat mine. I had a nice Zoom with some friends, but it was economical and civilised. Depressiveness, get thee behind seb! I’ll pass along your hey to Zac, you bet. Farewell until our roads next de-fork. ** Justin, Hi, Justin. My weekend was perfectly acceptable. My dislike of mirrors isn’t a self-disliking thing, but I don’t know what it is. Maybe I want to feel like I’m invisible, I’m not sure. I probably should make a character in one of my fictions or films based on me, or on that aspect of me. Huh. ** ANGUSRAYS (it’s sunny!), Well, hello there! Good to see you, maestro! Busyness I know, so no prob. Obviously, you sound like you’re doing just awfully, awfully well, which is a happy thing. Cool, man. I sure do wish you luck, although it might be extraneous given your recent track record. Curious to see the video, natch. Thank you for gracing my humble abode with your mega-sparkle. Love, DC. ** Misanthrope, Steal it. It’s a gift, no stealing needed. We don’t have miniature golf over here, so I’m sure I’m romanticising the hell out of it. Ouch. Painless hug. ** Joe, Hey, Joe. Cool, hope you dig that book. I was on a Branca jag recently, hence the restoration. I couldn’t stop listening to ‘The Spectacular Commodity’. Sunniest (if you want that) day to you, pal. ** Thomas Moronic, There you are! I hope you didn’t mind that I made you Moore. Barring disaster, which is always extremely possible with this project, the film is advancing to its completion, which is hard to believe but does seem to be case. So I’m excited. And a little burnt. And trepidatious. But excited. How are you? Are you writing? What’s going on? Love, Dennis of the Blog (and Other). ** Okay. Today I’ve made a sequel to an old post from, oh, about 8 years ago that was quite popular back in the day, but the world changed a lot since then, so who knows now. If you have any favorite dead record stores, feel free to add them to the heap. See you tomorrow.

* (restored)

 

Introduction

I figured this video would be a decent introduction to Glenn Branca:

 

In the video, Branca talks about John Cage’s specific reactions upon hearing his work – evidently, Cage didn’t enjoy it. Branca must have been amused in some ways as he chose to put an interview, which featured John Cage talking about why he dislikes Branca’s work, as a track on one of his albums, which can be heard here:

 

I thought that might be an interesting place to start with this day – because far from wanting to set this up as a Glenn Branca VS John Cage fest, or anything like that – it does give some kind of context for where Glenn Branca himself may see his work fitting in. I dunno, I could be wrong, and maybe who cares? Basically, I love Branca’s work. It excites me. It inspires me. That’s my main motivation here.

I never get bored of seeing this clip:

 

And here’s another interesting interview with Branca:

 

---

The Work

“Dissonance” (1980)
Glenn Branca – guitar – Anthony Coleman – organ, keyboards – Michael Gross – guitar – F.L. Schröder (aka Frank Schroder) – bass – Stephan Wischerth – drums – Harry Spitz – sledgehammer – Thurston Moore – guitar – Lee Ranaldo – guitar – David Rosenbloom – guitar – Ned Sublette – guitar – Jeffrey Glenn – bass

 

“The Spectacular Commodity” (1981)
Glenn Branca – guitar – Ned Sublette – guitar – David Rosenbloom – guitar – Lee Ranaldo – guitar – Jeffrey Glenn – bass – Stephan Wischerth – drums

 

“Symphony No. 1 (Tonal Plexus)” (1983)
Glenn Branca, Craig Bromberg, Dave Buk, Ann DeMarinis, Barbara Ess, Robert Harrison, Thurston Moore, Lee Ranaldo, David Rosenbloom, Richard Edson, Ned Sublette, Wharton Tiers, Gail Vachon, Fritz Van Orden, Stephen Wischerth and Margot Zvaleko

 

“Symphony No. 3 (Gloria)” (1983)
Glenn Branca, Barbara Ess, Thurston Moore, Lee Ranaldo, Michael Gira, a.o.

 

“The World Upside Down” (1990)
The New York Chamber Sinfonia

 

“Symphony No. 5 (Describing Planes Of An Expanding Hypersphere)” (1995)
Bass – Dan Braun, Tim Sommer – Conductor, Guitar [Harmonics Guitar] – Glenn Branca – Drums – Stephen Wischerth – Guitar – Evans Wohlforth, Jonathan Bepler, Mark Roule, Matthew Munisteri – Mallet Guitar – Al Arthur – Keyboards – Greg Letson, Miriam McDonough – Violin, Guitar – Hahn Rowe

 

“Symphony No. 7 (For Orchestra)” (1989)
The Graz Festival Orchestra

 

“Twisting in Space” (2013)
Guitars: Reg Bloor, Eric Hubel, Greg McMullen and Scott Collins – Bass: Arad Evans – Drums: Libby Fab – Conductor: Glenn Branca

 

“Bad Smells (Music For The Dance Choreographed By Twyla Tharp)” (1982)
Glenn Branca – guitar – Anthony Coleman – organ, keyboards – Michael Gross – guitar – F.L. Schröder (aka Frank Schroder) – bass – Stephan Wischerth – drums -Harry Spitz – sledgehammer – Thurston Moore – guitar – Lee Ranaldo – guitar David Rosenbloom – guitar – Ned Sublette – guitar – Jeffrey Glenn – bass

 

Live (2010)

 

“Symphony 5 (live @ the Kitchen)” (1984)

 

Glenn Branca Ensemble – SESC Belenzinho – São Paulo – 24/07/2012
1. The Tone Row That Ruled The World
2. Carbon Monoxide
3. Quadratonic
4. Lesson Nº 3 (Tribute To Steve Reich)
5. The Blood
6. Lost Chords

 

---

Writing

If you want the technicalities and facts about Branca, then you can have look at the Wikipedia entry.

It’s more interesting for me to read what Branca says himself. This is him talking about the current state of music, from 2009:

 

The End of Music
By Glenn Branca

We seem to be on the edge of a paradigm shift. Orchestras are struggling to stay alive, rock has been relegated to the underground, jazz has stopped evolving and become a dead art, the music industry itself has been subsumed by corporate culture and composers are at their wit’s end trying to find something that’s hip but still appeals to an audience mired in a 19th-century sensibility.

For more than half a century we’ve seen incredible advances in sound technology but very little if any advance in the quality of music. In this case the paradigm shift may not be a shift but a dead stop. Is it that people just don’t want to hear anything new? Or is it that composers and musicians have simply swallowed the pomo line that nothing else new can be done, which ironically is really just the “old, old story.”

Certainly music itself is not dead. We’ll continue to hear something approximating it blaring in shopping malls, fast food stops, clothing stores and wherever else it will mesmerize the consumer into excitedly pulling out their credit card or debit card or whatever might be coming.

There’s no question that in music, like politics, the bigger the audience gets the more the “message” has to be watered down. Muzak’s been around for a long time now but maybe people just can’t tell the difference anymore. Maybe even the composers and songwriters can’t tell the difference either. Especially when it’s paying for a beach house in Malibu and a condo in New York.

Of course, we could all just listen to all of our old albums, CD’s and mp3’s. In fact, nowadays that’s where the industry makes most of its money. We could also just watch old movies and old TV shows. There are a lot of them now. Why bother making any new ones? Why bother doing anything new at all? Why bother having any change or progress at all as long as we’ve got “growth”? I’m just wondering if this is in fact the new paradigm. I’m just wondering if in fact the new music is just the old music again. And, if that in fact it would actually just be the end of music.

 

---

And here’s another piece he wrote for the NYT:

The 25 Questions
By Glenn Branca

I got the idea for this piece from mathematician David Hilbert’s well-known list of 23 “Paris Problems” (1900) that he hoped to see solved in the new century. Of course there is not the slightest connection between Hilbert’s list of problems and this list of questions. Not to mention the fact that many of these questions contain the answers simply in the asking.

1. Should a modern composer be judged against only the very best works of the past?

2. Can there be truly objective criteria for judging a work of art?

3. If a composer can write one or two or more great works of music why cannot all of his or her works be great?

4. Why does the contemporary musical establishment remain so conservative when all other fields of the arts embrace new ideas?

5. Should a composer, if confronted with a choice, write for the musicians who will play a piece or write for the audience who will hear it?

6. When is an audience big enough to satisfy a composer or a musician? 100? 1000? 10,000? 100,000? 1,000,000? 100,000,000?

7. Is the symphony orchestra still relevant or is it just a museum?

8. Is micro-tonality a viable compositional tool or a burned out modernist concept?

9. In an orchestra of 80 to 100 musicians does the use of improvisation make any sense?

10. What is the dichotomy between dissonance and. tonality and where should the line be drawn?

11. Can the music that sooths the savage beast be savage?

12. Should a composer speak with the voice of his or her own time?

13. If there’s already so much good music to listen to what’s the point of more composers writing more music?

14. If Bach were alive today would he be writing in the baroque style?

15. Must all modern composers reject the past, a la John Cage or Milton Babbitt’s “Who Cares If You Listen?”

16. Is the symphony an antiquated idea or is it, like the novel in literature, still a viable long form of music?

17. Can harmony be non-linear?

18. Was Cage’s “4:33” a good piece of music?

19. Artists are expected to accept criticism, should critics be expected to accept it as well?

20. Sometimes I’m tempted to talk about the role that corporate culture plays in the sale and distribution of illegal drugs throughout the United States and the world, and that the opium crop in Afghanistan has increased by 86 percent since the American occupation, and the fact that there are 126,000 civilian contractors in Iraq, but what does this have to do with music?

21. Can the orchestra be replaced by increasingly sophisticated computer-sampling programs and recording techniques, at least as far as recordings are concerned?

22. When a visual artist can sell a one-of-a-kind work for hundreds of thousands of dollars and anyone on the internet can have a composer’s work for nothing, how is a composer going to survive?
And does it matter?

23. Should composers try to reflect in their music the truth of their natures and the visions of their dreams whether or not this music appeals to a wide audience?

24. Why are advances in science and technology not paralleled by advances in music theory and compositional technique?

25. Post-Post Minimalism? Since Minimalism and Post-Minimalism we’ve seen a short-lived Neo-Romanticism, mainly based on misguided attempts to return to a 19th century tonality, then an improv scene which had little or nothing to do with composition, then a hodge-podge of styles: a little old “new music,” a little “60’s sound colorism”, then an eclectic pomo stew of jazz, rock and classical, then a little retro-chic Renaissance … even tonal 12-tonalism. And now in Germany some “conceptual” re-readings of Wagner. What have I left out? Where’s the music?

More of Glenn Branca’s NTY articles can be found here.

 

---

To end, I enjoyed some of the stuff that Branca talked about in these last two interviews.

 

END

 

*

p.s. Hey. ** Dominik, Hi!!! Oh, sure, growing up in LA, you pretty much need to learn to drive. I started driving when I was 14. I love driving. I miss it when I’m over here. As long as Anita can drive, you’ll be just fine. So, one of these days … Really? I mean, the contest thing is a very cool idea from over here. But time, definitely, it would take. Curious what you decide. I join love in feeling sorrow for that crow. Bad dog. Love wondering if when pigeons see a dead pigeon they think, That could have been me, G. ** A, Hi! Oh, maybe your comment arrived while I was already doing the p.s. because I sometimes miss those late ones since I don’t always remember to refresh the page before I launch the post. That would explain it? ** Uday, Aw, thanks. I hope the funeral went as well as something like that could go, and whatever ‘well’ means in that instance. Maybe it was profound? Hope your weekend didn’t impede your forward momentum. ** _Black_Acrylic, Hi, B. Super interesting sounding story in that book. Eek. Oh, shit, that’s scary about the confusion -> hospital. But you sound clear as a bell, man, so whew. And bringing such great news! Everyone, the new episode of Ben ‘_Black_Acrylic’ Robinson’s masterful and living legendary online music-centric venture Play Therapy v2.0 is online, and it is a guaranteed ecstatic kickstarter to your week. I’m a hardcore addict, and join me in the enlightenment here. Yay!!! ** Joe, HI, Joe!! Awesomeness to see you!! I’m okay. The post-production is moving along as a solid place that we are really hoping will not abate. I found the Daley book at Paris’s greatest bookstore, After8, and I picked it up, and I saw it had a blurb from Ron Padgett, and I flipped through it and was sold. Larry Clark knew the protagonist and moved in some of the same circles and knows that scene very well so he’s rather plentifully quoted in the book. Very happy that you’re being ever more uprighted and, of course, working hard. Me too. Highest five, maestro. ** T, Hey, buddy! I’m still and even more locked into the film work because we’re finally in the final stretch. That’s life’s almost entirely and will likely be until March. I haven’t read ‘The Anarchist Banker’, no. The title is mega-intriguing, obviously. ‘An Incest Diary’ neither. On the hunt. Oh, shit, not feeling tip-top and, ugh, dental to come. You’ll be okay. You’re tough. You’re in love! Wow, that’s great! No, really, it is. Being in love is amazing, or, well, has greatness in its arsenal more than most other things do. Happy you’re embracing it. Nice, pal! Ha ha, I’ve had a fucked up (though much improved now) leg for a month, and that limo would get a lot of use if I don’t just move into it entirely. I know I keep saying this, but let’s hang out. I have post-film studio spates of free time and weekends should our freedoms align. Any interest in going to any of the Presences Electronique gigs? I hope this is the week that Tinker Bell invites you to go bowling. ** Misanthrope, The world loves a winner. Okay, good, you did the mini-golf, that’s all that matters. I was beginning to question your sanity, man. And Elio Jr. graced y’all. He’s probably going through a lot and getting in touch with his true, self-involved pretty boy side at last. Always carry some emojis around in your pocket. That’s the key. ** Steve Erickson, Glad the weekend was a marked improvement. And that’s obviously good news about your dad. Thanks about the sound work. I’m sure we’re going to want to do a lot of fiddling ‘cos we’re pretty detail oriented on that stuff. Vinterberg had such an excellent start, but I feel like he shot his wad pretty early on. But I don’t know. I watched or, rather, rewatched ‘Killing of a Chinese Bookie’ for my biweekly Zoom ‘book’ club thing. It’s kind of the transition film between the early, experimental Cassavetes and later, more conventional films, and it seemed like a mostly very beautiful mix. ** Guy, I’ll run it if I can have a huge, dedicated crew. I think I’d better as the brains behind that operation than a hands-on monitor or something. Yes, let’s co-run it. That’s clearly the best case scenario. That’s the thing about slaves, to grotesquely generalise. They’re all ‘you, you, you’ in presentation but entirely ‘me, me, me’ when it comes down to it. No, I really didn’t see the poem, but I guess now I will. And this time I’ll be eagle-eyed. Cool. Oh, I’m sorry about your friend and his fair weather friends, and addiction sucks, for sure, even though your description of his mania for making a collage out of antiques is kind of exciting to imagine. My weekend was nice enough. I worked on some fiction for the first time in a while, and that was a good move. And mostly quietness. Happy happy today ->! ** Darby🎢, Ooh, a roller coaster, now you’re talking, or, I guess, copy and pasting. Now that you’ve pronounced that name it does sound familiar. I’ll run it by Zac sonically today. Thanks about the mirror thing, but I’ve never liked looking at what I look like. I’ve never liked knowing what people see when I’m with them. It makes me feel too self-conscious. I like pretending I’m just a solid quantity of space or something. I don’t know why. I love myself okay, really, I just don’t want to know what I present physically to others. Weird = me. On the Monster, I’ll have to wait and tell you later because he got some and drank it, and now the fridge is bereft. I think the can was green, but I assume they’re all green? ** oliver, Hey, hey, oliver. Um, I think maybe two possibly three weeks of sound mix left to go. I think the color grader said that part would a week to ten days, I’m guessing more like a week because we’re pretty fast. And finally VFX. Five or six days of that maybe? Your location and immediate past sounded very interesting and fun to me. Hope they were now that they’re all in the past. Well, unless you’re still dive barring. We hope to get a festival premiere this year. I really don’t have the patience to sit on the film any longer. It’s been too long a haul already. Happy initiating week! ** Right. Today I have restored an old post made by the noted author Thomas Moore concerning the late, great, singular composer and guitar master Glenn Branca. Blast it. See you tomorrow.