Favorite drawing by Jean Cocteau.

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Favorite drawing by Kay Nielsen.
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Favorite bookplate - it’s all Freud 24/7.
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Favorite bicycle poster - This was up on my bedroom wall throughout much of high school.
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Favorite drawing by J. C. Leyendecker.
Oh - there is a lot I have to say about Michael; he is a friend who lives about a mile down the street. Last time I saw him, I think, was when I was doing the rock show at The Coronet with Ken and Donovan Leitch. Michael was there not to see me actually, but to see Ken. Anyway, yes, I have a lot to say about Michael, and I can say none of it here. None of it. He is too private. This is a rather typical place I find myself here.
Unknown painting that I like - 1.
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Unknown painting that I like - 2.
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Stefanie Marsh, from The Times’ recent query, “Has New York Lost Its Edge?” (via ryanedwardmiller)
S. RUBIN needs to discuss this with me this week, as we peddle-to-the-floor to get more auditions and meetings in before Thanksgiving.
I wish this film was on tv right now. Or Sunday afternoon. IF directed by Lindsay Anderson.
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The following was written several days ago (or last week), in the blur, as the start of a post. I never finished it; I believe I bi-located to my futon and sunk into sleep mid-sentence:
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At today’s callback auditions session, S. RUBIN brought me a croissant with melted white cheese inside (and a little sugar, I think - it was a sort of cheese danish, ultimately) which was delicious.
When she was discussing the effects of siliciben with one of the actors, I asked if they were referring to peyote, and both said No.
Later, when I was setting up an improv based upon one of the scenes with two of the actors, there was a discussion how paintings on the wall can be a sort of expression of one’s inner world following coitus. The use of space on the stage, especially between actors, which was my point, is often about power, or at least when used right, and that the