Juana Molina
Anthony Pateras
Aaron Dilloway
Chino Amobi
Alex G
Huxley Anne
Forest Swords
Carla dal Forno
Loke Rahbek
Jlin
WaqWaq Kingdom
Pharmakon
Organ Tapes

 

____________
Juana Molina Cosoco
‘Since her early gem Segundo, Juana Molina has twisted acoustic and synthesized sound into fitful creations that underscore her narratives; with this work, she’s reached a zen place where the very texture of a tone becomes its own language. In her music, the “meaning” of a song can come from lyrics or gibberish rhythmic syllables, from radio static or synthesizer sounds that droop like tree branches made heavy by rain, or layered voice chorales that suggest whip-poor-wills in conversation. None of the sounds or the melodies that occupy the foreground of Halo last too long, and that gives the music an arresting quality: You want to pin it down and dissect its components, and the more you try, the more elusive it becomes.’ — First Listen

 

_____________
Anthony Pateras Autophagy
‘Composer, improviser, and electro-acoustic music maker Anthony Pateras has for the better part of two decades continued to make forward thinking uncompromising music in a variety of guises. Whether it’s via one off collaborations or his various bands including Pateras/ (Sean)Baxter/(David) Brown, Thymolphthalein with Natasha Anderson, Will Guthrie, Jérôme Noetinger, and Clayton Thomas, PIVIXKI with Max Kohane, the Pateras/(Robin)Fox duo, North of North with Scott Tinkler and Erkki Veltheim or tetema with Mike Patton, Will Guthrie and Erkki Veltheim, you know that the involvement of Pateras ensures the result will be music quite unlike anything you’ve ever heard before.’ — Cyclic Defrost

 

_____________
Aaron Dilloway Born In A Maze
‘Hundreds of releases and countless live performances littered the path that lead to 2012’s Modern Jester, artist Aaron Dilloway’s last major artistic statement as a solo artist and one his most well received documents since leaving Wolf Eyes, the prolific noise troupe that Dilloway co-founded in the late 90’s with musician Nate Young. Introducing itself with the cover image of a posed dummy ready for his yearbook portraiture, The Gag File pick up right where Modern Jester left off; its identity is directly tied to an absurdly uncomfortable head shot that stays permanently fixed in the listener’s mind whenever the album is summoned.’ — dais records.com

 

_____________
Chino Amobi Kollaps
‘Experimental producer and NON co-founder Chino Amobi’s new album is described as “a musical epic set in a distorted Americana populated by a cast of sirens, demons, angels, imps, priests, hierophants, monsters and peasants” and features a long list of NON members and likeminded contemporaries including Elysia Crampton, Rabit, Haleek Maul and Dutch E Germ (aka Tim DeWit of Gang Gang Dance).’ — Fact Magazine

 

____________
Alex G Sportstar
‘On Rocket, his latest with Domino, Alex G dives deeper into his insular world while also expanding his palette, experimenting with jazz, country R&B, and noise rock. While the entire album is unmistakably him, no two songs are alike. The angst-filled fury of “Brick” finds Giannascoli screaming over a muddled production as if Lil Ugly Mane produced a Trapt single. On the next song, “Sportstar”, he sings an Auto-Tuned ballad about a destructive, one-sided relationship over hypnotic keyboards. “Proud” proves he could make a tremendous alt-country record one day if he wanted to, and there’s a saxophone on closer “Guilty” that would make Dev Hynes and Carly Rae Jepsen blush. Giannascoli’s gift is that he can manage these wild shifts in tone without ever losing sight of his vision. It’s purposefully scattered, not so much showing off as a desperate search for the right way to express himself at any one time.’ –– Consequence of Sound

 

____________
Huxley Anne Nin
‘Music was the grounding influence in my life as I grew up. I started dancing at age 3, piano at age 6, was on Napster torrenting albums at age 8. My diary was full of moody adolescent songs by age 12, shitty bands at age 16, then lots of lyrics & poems, half-hearted attempts at singing, finally opening Garageband in the desert on an iPad at 20 years old where I realized making electronic music was the medium I’d been searching for. Everything felt sort of scattered and unfocused before that—I always knew I wanted to pursue music, but I didn’t know how to translate the sounds I hear in my head until I started using a computer to do it. Synths work, too.’ — L.A. Taco

 

_______________
Forest Swords Raw Language
‘His first new solo material proper since the Engravings [2013, Tri Angle] album locates the Merseyside-hailing artist Forest Swords scaling up his compositions to a more layered, pinched and grandiose sound but still kept just out of reach, somewhere in the middle distance, like the outline of a sunlit mountain range in the distance occluded by a spring storm. The R&B ruggedness that was key to his cherished earlier work belies Compassion, too. Echoing a beat-driven aesthetic that resonates with the rich history of his home region, a place cleft between sprawling, sea-sprayed wilds, concrete brutalism and mock classical architecture that makes for strong allegorical comparisons with his music.’ — Boomkat

 

______________
Carla dal Forno What You Gonna Do Now?
‘Patience is the key to understanding Carla dal Forno’s solo work: You Know What It’s Like is a grower, and one that demands repeated listening. Just two or three listens is a waste of everyone’s time – the record’s comparatively short 30-minunte running means it can glide past like someone else’s shadow. It’s a secret work, too; dal Forno has clearly taken a lot of time to make this a fleeting but intriguing glance into a specific time and place. She takes care to lay out her mysterious music for us – a music that feels timeless and ancient, full of uneasy memories and dark secrets. And, further, a music that feels potent and sensual, like a slow moving river. What really gives this record its strength is the total lack of bombast. There’s no sense of braggadocio. No sense of being in the “music industry”. No striving to make a point to peers.’ — Richard Foster

 

______________
Loke Rahbek Like A Still Pool
‘Echoing the growing influence Copenhagen’s Posh Isolation have had in recent years, label co-founder and creative instigator behind many of their acts Loke Rahbek steps out with a debut solo album. Assembled over the course of 2014-16 at Stockholm’s fabled EMS studios and Rahbek’s Posh Isolation base in Copenhagen, City Of Women effectively distils aspects of the various PI projects Rahbek has been involved in over the past few years to deliver a nine-track collection that defies easy categorisation. There is romance here in this mythical city, witnessed in Rahbek’s sumptuous piano playing in both ‘Fermented’ and ‘A Word A Day’, whilst his obvious mastery of channelling extreme noise to evoke an emotional response is evident in the title track or album opener ‘Like A Still Pool’. Pitched somewhere between a wistful Varg and the post-Hype Williams abstraction of John T Gast, this is a fine statement of intent from Rahbek on perhaps his strongest and most absorbing production to date.’ — Boomkat

 

_______________
Jlin Black Origami
‘Never one to rely too heavily on melodic samples, Jlin instead explores the movement and meaning to be found amongst volatile beat patterns and otherworldly fragmented sounds. And while her February 2017 EP, Dark Lotus, offered a glimpse into her evolution as a producer, this latest full-length showcases Jlin’s talent for manipulating silence as well as sounds. Tracks like “Holy Child” and “Nandi” convey spirituality through complexity, their rhythms shifting and morphing as elements like drum beats, bells, and stray vocal samples fold into each other with mathematical precision. Other tracks, like “Hatshepsut” and the album’s closer “Challenge (To Be Continued),” layer disparate elements — like whistles and percussion samples from Africa, Japan, India, and HBCU drum lines — to evoke a sort of power that is at once unencumbered, but controlled.’ — The Fader

 

____________
WaqWaq Kingdom Step Into A World
‘Seasoned King Midas Sound watchers will know that vocalist Kiki Hitomi is frequently the best thing about the gnarled trio. Her bell-clear vocals and knack for a hook cutting through the waves of dubbed-out filth on a song like ‘Aroo’ to create something that hangs around the garden of left-field pop, without ever quite making up its mind whether to come in or not. On the face of it, there are similarities between WaqWaq Kingdom – Hitomi’s new project – and her King Midas day job, with both bands skirting around the edges of reggae. But whereas King Midas Sound delight in the filthier edge of the dub spectrum, all crooked dance hall beats and dubstepped sheets of bass, WaqWaq Kingdom create something that is simultaneously lighter, more psychedelic and downright weirder than anything cooked up by King Midas producer Kevin Martin (aka The Bug). Perhaps this is to be expected from a trio that features DJ Scotch Egg, an artist who mines the unexpectedly fertile cross over between gabber and chiptune, alongside a Nils Frahm collaborator (Andrea Belfi) who plays the trimba, a kind of triangular shaped drum pioneered by Moondog.’ — Ben Cardew

 

________________
Pharmakon Nakedness Of Need
‘The release date of Contact marks the ten-year anniversary of Margaret Chardiet’s project, Pharmakon. While working on her newest release, she began to evaluate the project as a whole. Though the content of each record has been very different and specific, the pervading question, which has underlined them all, is what is means to be human. Her last album, Bestial Burden, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum – the moments when our mind can come outside of and transcend our bodies.’ — Sacred Bones Records

 

_________________
Organ Tapes w/ Andrew Thomas Huang Fire Cock
‘Organ Tapes communicates with the listener obliquely. His music is painterly, operating through gesture and refraction. His vocals are slurred and auto-tuned, his beats amorphous and textured. On Words Fall To Ground, his second collection of original material, his sound continues to expand and accrete, filling up space gaseously, pregnant with affect, linear propulsion subsumed by drift and swell.’ — Rafael Lubner

 

 

*

p.s. Hey. ** Liquoredgoat, Hi, D. Before I forget, thanks a ton and a half for the awesome and super fresh guest-post. It’ll launch here a week from this coming Friday, on the 16th. Sweet! Very nice about scoring the Duvert. On the same wavelength, I just got a galley of Duvert’s novel ‘Atlantic Island’ that Semiotext(e) is putting out this fall. It’s said to be one of his greatest, so I’m petty psyched to finally get to read that. Bon day! ** David Ehrenstein, My great pleasure, David. Proust and the Dreyfus case, okay, I’m curious. Thanks, I’ll read that when I get my next bit of clear sailing. ** Dóra Grőber, Hi, Dóra! What a nice day (yours): working on your book and your magazine. Like heaven. And fantastic news about the Hobart pub. date! Yes, yes, please hook us/me up as soon as it’s up there. All is good. We did get the extra editing time, an additional week (meaning an extra five days)! So we’re relieved about that. I, of course, just edited the film with Zac all day into the evening. Our production manager came by to look at some footage, and she seemed pretty pro about it, so that’s good. Oh, and the writer Christopher Higgs wrote very smartly and nicely about my GIF novel ‘Zac’s Freight Elevator’ and a few other things, and that went up at Entropy yesterday, and that made me very happy. It’s here if anyone’s interested. So, yes, and back to the editing races again I go in a few minutes. What did Wednesday deliver to you? ** Sypha, Hi. It’s an amazing post for sure. Definitely very happy to get it back in the public eye again. I wish I was the kind of writer who could write a novella on vacation. Your discipline and tempo when disciplined are very admirable, sir. ** Jamie, Hi, Eimaj! Ha, the editing room is not unlike a little mine actually, or it’s dark and stuffy at least. The mining — and the editing is not unlike mining now that I think about it — goes well. Oh, god, yes, I know very, very much about having budgetary perimeters lorded over you. In film stuff, you just try to keep the script/plan as complicated as originally planned and cut down the shot list, simplify the shooting location, and stuff like that, but I guess it’s not that simple in animation where elements aren’t as easily separable, or so I imagine. Are you working on the script revision now? Yesterday’s editing went well. We’re refining everything and shortening/lengthening, and moving things about a little. No big problems so far. Sometimes the scenes just won’t become what we wanted them to be, so we’re having to reinvent them to make them work, and that’s interesting. Anyway, blah blah. I hope Glasgow has heavily and passionately welcomed you back. Any progress on the new home front? Stop: Madeleine -> metro line 8 -> Stop: Chemin Vert love, Dennis. ** _Black_Acrylic, Highty-ho, Ben. ** Steevee, Hi. No, I haven’t done a Frank Perry Day, and that’s an excellent idea. I will. Thank you! Good, tentatively very good news on the stabilizing of your emotions! ** Misanthrope, Hi, George. Good until the evening isn’t good enough, man. That simply has to be righted. Your doctor guy got his degree to do that and earns his keep doing that and it is his solemn duty to sort that shit out. End of story. You saw that Mr. E reviewed ‘Handsome Devil’? There was a link here to his review, uh, two days ago? ** S., Hey. My heaven would be a no seafood zone. Seafood makings could live their happy, pre-seafood little lives in it though. No story is bad until it’s finished, and probably not even then. That’s my motto or something. Haunted bookstore: now you’re talking. ** Okay. I made one of my gigs for you today so try to find some time and space in your busy lives to test out its offerings if you can and are okay with that idea. Thanks. See you tomorrow.

* (restored)

(Touche)

 

A Step Away From Them

It’s my lunch hour, so I go
for a walk among the hum-colored
cabs. First, down the sidewalk
where laborers feed their dirty
glistening torsos sandwiches
and Coca-Cola, with yellow helmets
on. They protect them from falling
bricks, I guess. Then onto the
avenue where skirts are flipping
above heels and blow up over
grates. The sun is hot, but the
cabs stir up the air. I look
at bargains in wristwatches. There
are cats playing in sawdust.
On
to Times Square, where the sign
blows smoke over my head, and higher
the waterfall pours lightly. A
Negro stands in a doorway with a
toothpick, languorously agitating
A blonde chorus girl clicks: he
smiles and rubs his chin. Everything
suddenly honks: it is 12:40 of
a Thursday.
Neon in daylight is a
great pleasure, as Edwin Denby would
write, as are light bulbs in daylight.
I stop for a cheeseburger at JULIET’S
CORNER. Giulietta Maina, wife of
Federico Fellini, é bell’ attrice.
And chocolate malted. A lady in
foxes on such a day puts her poodle
in a cab.
There are several Puerto
Ricans on the avenue today, which
makes it beautiful and warm. First
Bunny died, then John Latouche,
then Jackson Pollock. But is the
earth as full of life was full, of them?
And one has eaten and one walks,
past the magazines with nudes
and the posters for BULLFIGHT and
the Manhatten Storage Warehouse,
which they’ll soon tear down. I
used to think they had the Armory
Show there.
A glass of papaya juice
and back to work. My heart is in my
pocket, it is Poems by Pierre Reverdy.

— Frank O’Hara

 

Let’s begin at the ending — the overture to the masterpiece ‘Touche never lived to see —

 

(Candide overture)

 

Surely the facts are not in dispute:

“John Treville Latouche (La Touche) (November 13, 1914, Baltimore, Maryland – August 7, 1956, Calais, Vermont) was a musician and writer.

Born in Baltimore, Maryland, Latouche’s family moved to Richmond, Virginia when he was four months old. Much of his work included Rabelaisian humor and was therefore often censored or protested against. He attended Columbia University but never graduated.

In 1937 he had two songs in the revue, Pins and Needles. In 1939 for the show Sing For Your Supper he wrote the lyrics for “Ballad for Uncle Sam”, later retitled “Ballad for Americans”, with music by Earl Robinson. It was featured at both the 1939 Republican Convention and the convention of the American Communist Party, and was extremely popular in 1940s America. This 13-minute cantata to American democracy was written for a soloist and as well a full orchestra. When performed on the CBS Radio network by singer Paul Robeson, it became a national success. Subsequently, both Robeson and Bing Crosby regularly performed it. Actor and singer Brock Peters also made a notable recording of the cantata.”

 

(“Ballad For Americans” Paul Robeson)

 

“He provided the lyrics for Vernon Duke’s songs (including, with Ted Fetter, “Taking A Chance On Love”) for the musical Cabin in the Sky (1940) … ”

 

(Cabin in the Sky)

(“Taking a Chance on Love” Ethel Waters)

 

“ … and also for Duke’s musical Banjo Eyes which starred Eddie Cantor (1941).”

My favorite song from same. (I’ve italicized the key line) —

Not a Care in the World

Rent overdue
My sister has measles
Hole in my shoe
My belt’s drawn tight
My income is nil
My in-laws are weasels
My present is dark
My future’s a fright
But as long as you are there
What in the world do I care?

Though hope is low,
I’m aglow when you smile at me
Life is simple as A B C
Not a thought in my head
Not a care in the world
Though skies are grey
I’m as gay as a Disney cow
Not a wrinkle upon my brow
Not a cent in the red
Not a care in the world

I view the scene
Like that old queen of Russia
As Kate the Great
Used to say long sgo
“Nichevo!”
And so if I move
In a groove with a giddy trot
I’m a trottin’ because I’ve got
Not a bean in my pot
Not a care in the world

Though I can’t jive
I revive when I see your face
Not a limp in my merry pace
Not a crimp in my style
Not a care in the world
Though I’m a wreck
I can peck if you take a chance
Not a shine on my blue serge pants
Not a crack in my smile
Not a care in the world
Why should I fret
When I bet on a sure thing?
Like Nick the Greek
Used to say ev’ry day
“Yip-i-ay!”
And so if I’m struttin’
With nuttin’ ahead in store
There’s a reason I said before
I’ll repeat it once more
Not a care in the world!”

 

“He wrote the book and lyrics for The Golden Apple in 1954 with music by Jerome Moross, which won the New York Drama Critics’ Circle Award for Best Musical. In 1955 he provided additional lyrics for Leonard Bernstein’s Candide. He also wrote the libretto to Douglas Moore’s opera The Ballad of Baby Doe, one of the few American operas to join the standard repertoire.”

 

(“The Willow Song” The Ballad of Baby Doe, Beverly Sills)

 

He appeared as The Gangster in the experimental film Dreams That Money Can Buy (1947).

 

 

In 1955, he collaborated with co-writer Sam Locke and composer James Mundy on the Carol Channing vehicle The Vamp, which closed after a run of only 60 performances.”

 

 

“He had been working with David Merrick on musicalizing the Eugene O’Neill play Ah, Wilderness but died during the writing of it (It would later become Take Me Along).

He was a protégé of James Branch Cabell and friends with writers Gore Vidal and Jack Woodford.”

Gore Vidal’s novel The Golden Age begins at the premiere of The Golden Apple. For Vidal the show exemplified the spirt and drive of American artistry in the immediate post-WWII period — a “Golden Age” that sadly lasted only a few years.

“Latouche dated Louella Woodford when they were both teenagers. He also was friends of the architect William Alexander Levy, who designed and built Hangover House for travel writer Richard Halliburton, and writer Paul Mooney, who assisted Halliburton in several of his classic travel works. See Gerry Max, Horizon Chasers – The Lives and Adventures of Richard Halliburton and Paul Mooney (McFarland, 2007) for references.

Latouche died of a sudden heart attack at his Calais, Vermont home at the age of 41.”

In the arms of his boyfriend Kenward Elmslie.

 

 

Kenward is of course a noted lyricist himself Here’s an opera he wrote with a boy who lived down the street from me in Flushing.

 

(Washington Square, an opera libretto by Kenward Elmslie after the novel by Henry James for music by Thomas Pasatieri)

 

More than a tad closer to Touche is the score he wrote with Claibe Richardson for The Grass Harp.

 

(The Grass Harp, Kenward Elmslie and Claibe Richardson. Barbara Cook)

 

But back to Touche.

“The New York Theatre Company produced Taking a Chance on Love – The Lyrics and Life of John LaTouche, A New Musical Revue (“The Bad Boy of Broadway Is Back”) in 2000, with notes by Ned Rorem (OC-4444: Original Cast Records, Box 496, Georgetown, CT 06827). The John LaTouche Archive, containing journals, family letters, scrapbooks of photographs and newspaper articles, is housed at Columbia University. Out in the World – Selected Letters of Jane Bowles 1935-1970, edited by Millicent Dillon (Black Sparrow Press, Santa Barbara, 1985), contains a number of references to LaTouche, and his circle of friends and acquaintances. Also read Virginia Spencer Carr, Paul Bowles – A Life (Scribner: New York London Toronto and Sydney, c2004) for frequent snapshot references to LaTouche.”

Here’s very important song ‘Touche write with Billy Strayhorn. The music was as usual credited to Duke Ellington. But “Sweet Pea” wrote it.

 

(Jo Stafford “Daydream”)

 

Here are the lyrics Touche wrote for another Strayhorn song for Beggar’s Holiday. The show (which ran briefly on Broadway) starred Alfred Drake as Macheath, and was directed by (wait for it) Nicholas Ray.

 

I’ve Got Me

When your flights of fancy start to crack up
And your light of love begins to pack up
And reality cuts you down to your size
Don’t cling to your illusions — get wise
There’s only one who’s really for you
Who’ll never bore you — who’ll always adore you
Times are tough, the going’s rough
Still I’s able to rise above it
Cause I’ve got me
Can’t depend, upon a friend
Still I travel alone and love it
Cause I’ve got me
I’ve learned most people are awful cranky
They take your heart, and they don’t say “Thankee”
Now I’m the shy type, the passin’by type
Since I found out — I was my type
Got no yen to love again
Want no two-timin’ guy to greet me, my mind is free
I’ll never leave me
I won’t deceive me
Oh peace, it’s marvelous
Cause I’ve got me!

 

High time we got to the main course —

 

(The Golden Apple)

 

Here’s from the original cast recording — which preserve only a portion of the score.

 

(“Nothing Ever Happens in Angel’s Roost” Kaye Ballard)

(“Lazy Afternoon” Kaye Ballard — live)

 

And here are excerpts from a recent revival staged somewhere in the hinderlands by a group of people who really knew what they were doing.

 

(Welcoming Ceremony)

(The Arrival of Paris)

(Helen is Always Willing)

(Act 1 Finale)

 

And now to end where we came in —

 

(“The Best of All Possible Worlds” Candide)

 

 

*

p.s. Hey. Today I’m bringing back Mr. Ehrenstein’s post about John LaTouche from the rubble of my former, murdered blog, and that’s your cue to immerse and find delight, and I hope you will, and that you will share whatever happens with your host. Thank you, and thank you again, David. Otherwise, just a note that for today and probably the rest of the week, I’m starting my week-daily editing of Zac’s and my film an hour earlier than before (9 am), so I will have less coffee in my system than normal and I will be speeding along a little to do the p.s. before I head out the door. Apologies for whatever notable effects that has. ** H, Hi. Thank you. I haven’t seen any of his films in whole after ‘Moebius’. My friend didn’t go into detail about his fandom of the films, but I suspect he will in response to the post. You have a fine week too! ** David Ehrenstein, Thank you again both for today’s post itself and for the nudge to restore it. And for the link, which I will use when I get back home. ** Steevee, Hi. Yes, she sounds more than a bit passion-impaired. So sorry about the awful gradualness of the righting of your dosage. Man, I hope soon this will be one of things upon which you can look back and laugh, although laughter seems rather unlikely. Hang in there. ** Bill, Hey. My pleasure, of course. How good to hear that the post made a real difference. I mean, that’s a post’s ultimate. Bon day! ** Dóra Grőber, Hi! Oh, interesting. Being a volunteer in a hotel sounds really fresh and exciting for some reason. I like hotels. Ha ha, the risotto. I mean, that sounds very unpleasant. But it made for a charming story. My cold seems to have died quickly, thank goodness. We’re supposed to hear today if we get added editing time. I mean, we need it, so I assume we’ll get it. There really isn’t much choice, But we will see. In the meantime, we’re adding an extra hour every day just in case. And, with that, I will finish this long paragraph and then zoom off. What happened during your Tuesday? ** Jamie, Hey, bud. Yeah, no editing yesterday. Instead I rehearsed Gisele’s and my theater piece ‘Jerk’, which is being revived for a series of performances after a break, and that went well, and then I had dinner with my old friend and d.l. Bernard Welt and his friend Rick, curator, at a Thai place and caught up on stuff and so on. That was nice too. It was an okay off day. Ha ha, well it seems quite possible that your ideas are correct knowing you as I do, and collaborations need confidence as much as cooperation. I hope the big meeting today goes well. That all sounds exciting to me. What’s the latest? On the Golden Fur collab., we don’t know when/were the performance(s) will be yet. I think the plan is to get further along in it and then consider venues. At the moment, it’s thought to be an in-the-round performance, and how it’s set up will determine what kind of spaces will work. Uh, mystery musicians? Oh, no, if I know what you mean, no, they’re not the mysteries. I do like The Dead C, yes! You just discovered them, cool. Yes, terrific. My cold’s barely there now. I forget I have it for stretches of time even. Have an excellent one and let me know what happened. Clicking love, Dennis. ** S., They are. And, in Paris, they are literally the only actual, old fashioned nachos you can get. Yep, every writer gets a pass to write badly occasionally. ** _Black_Acrylic, Hi, Ben. Cool, I can’t wait until I have the space to have my ‘Twin Peaks’ rapture. ** Misanthrope, Hi, G. Okay, it’s a date, about that bakery. Your self-diagnosis sounds pretty plausible to know-nothing me. Lord. That class action suit sounds ever more tempting. I hope your day is serene both internally and out there. ** Sypha, My pleasure, James. I’m looking forward to my listen. Oh, in case you weren’t here the day I mentioned it, I’m restoring your Huysmans post because New Juche asked me to and because it’s an excellent idea. On this coming Saturday. ** Okay. I hope no one got lost in the outshoot from my mental haze. Spend your local day investigating LaTouche. See you tomorrow.