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From Shelf to Press: Starting My Journey as a Bookseller, Letterpress Printer, and Publisher

A picture of the Charles Bukowski poetry book Crucifix in a Deathand

Every career starts somewhere—this one just happens to begin now, aged 61, with a storage locker full of books and the rhythmic whirl of the old Vandy in my garage. Becoming a bookseller, letterpress printer, and publisher wasn’t something I planned as a young man. It was something I discovered through passion and collecting and a deep-rooted love for the tangible, tactile world of print and paper.

Jean Baudrillard from his essay “The System of Collecting“:  Among the various meanings of the French word “objet”, the Littré dictionary gives this: “Anything which is cause or subject of a passion. Figuratively and most typically: the loved object”.  I remember holding a copy of Bukowski’s Crucifix in a Deathand and being amazed not only by the poetry, but Jon Webb’s creation and thinking I love this book — this object — so much I am going to this is, too.

When I was a kid and my folks took us shopping and couldn’t find me, all they had to do was look in a B. Dalton’s or Walden’s or Brentano’s. Books weren’t just knowledge, they took me places. They were also things that for some unexplained reason I needed to possess. And I needed to buy all of them.

I’m pretty sure almost all dealers start out as collectors, but not all collectors wind up being dealers. Maybe the same thing can be said of publishers? John Martin sold his collection of books (DH Lawrence mainly) to start Black Sparrow, and James Laughlin (New Directions) was a serious book collector whose personal library was extensive and reflected his deep engagement with literature, modernist poetry, and avant-garde works. Charles Scribner (1821–1871) and his descendants, particularly Charles Scribner Jr. (1854–1930) and Charles Scribner III (1890–1952)—who ran the legendary Charles Scribner’s Sons publishing house—were all serious book collectors, too.

Collecting. Printing. Dealing. Publishing. It isn’t just about selling books or printing pages—it’s about preserving history (maybe creating some, too), creating tangible beauty (especially in a digital age), and sharing the written word.

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5 Records: Sweet Sweetback’s Baadassssss Song.

Various pictures of the Mario Van Peeble's soundtrack record Sweet Sweetbck's Badass Song.

Blogger’s note: If you’re not familiar with my newly-found record collecting habits, you might want to read this entry first.

The soundtrack to Sweet Sweetback’s Baadasssss Song (STS-3001, 1971) is as revolutionary as the film itself. Released on Stax Records, it features a raw, urgent score by Melvin Van Peebles — as performed by Earth, Wind & Fire. Betcha didn’t know that. The record is what you’d imagine: a cool blend of jazz, funk, and soul — with audio samples from the film. It’s a groundbreaking soundtrack, too, because it didn’t just complement the film—it helped define the sound of Blaxploitation cinema. (Just FYI, I still haven’t see the film, but it’s streaming on Criterion. I think pretty much elsewhere, too…just not for free. And one last Just FYI while I’ve got your FYI attention: I’d never heard the album before, either. So I’m going to write about Sweet Sweetback’s Baadasssss Song on a particularly nice, warm-and-safe Higley Arizona Sunday afternoon while I listen to it for the very first time.)

I’m no music critic. I’ll leave that to failed and wanna-be music nerds. And I still haven’t figured out what, exactly my angle is going to be with these record blogs. Maybe just to tell a story and try to incorporate my latest record find into it. Kinda like Nick Hornby’s 31 Songs — without its seriousness of tying the songs into important, life shaping events. Because certainly strolling down the aisles of one of my very favorite record stores to find a copy of a record so water damaged someone took it upon themselves to “fix” doesn’t shape one’s life. (Nor should it). Open the gatefold to find another beautiful mess. Pull out the record to find a wholly playable, very clean copy of an album with a median value on Discogs is $25 and some change.

Cause life’s all about values, right? And handmade record-cover fix-its. And gatefolds. And finally, never calling a record or an album or an LP “a vinyl”.

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Synaesthesia Picks: Top 5 Collectibles of the Month

Vintage silver gelatin print in the style of Diane Arbus

They say modesty is a virtue, but when you’ve got rare finds as cool as these, tooting your own horn feels more like a public service. 🎺 So, here I am, shamelessly parading 5 gems that any collector worth their weight in dust jackets should know about.

Don’t worry, this isn’t just a sales pitch (okay, maybe it is)—but it’s one you’ll thank me for later. Here’s this month’s 5ivers 📚

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5ive Times Floyd: Exploring Memory, Obsession, and Identity Through Art and Bookmaking.

What happens when visual art and narrative collide? 5ive Times Floyd was more than an exhibition—it was my journey through memory, obsessions, and artistic exploration.

With five paintings and an accompanying artist’s book, 5ive Times Floyd delved into my ever-shifting nature of personal experience and how creativity reshapes the stories I tell myself.

Here’s a brief look at the making of 5ive Times Floyd, its artistic inspiration, and how the paintings and book came together at These Days LA last October to create a what I’d like to think was a multi-sensory experience for the people who attended.

Sometimes results arrive from things unplanned. Take for instance, stumbling across an original publicity still of two-time heavyweight boxing champion Floyd Patterson in the middle of a box of junk at a flea market in Southern California. I really can’t explain why some things Found speak to me so clearly. Floyd’s picture gets turned into a gel-transfer diptych on the backs of boards removed from a broken, hardbound book.

But, for some reason, that’s not enough: a book needs to be assembled with Floyd’s image as the central motif. Still not enough: so, combine other found imagery, text, and items into this book in the same way Joseph Cornell did with his Manual of Marvels, turning a simple book into an object.

This can’t be a one-off, either. A short run, limited to no more than something I could accomplish in a reasonable amount of time. Then, with forty hand-sewn into wraps, the only way to really make it right is to add a hardbound edition as well. Still not enough. Somehow, multiple paintings evolved directly from the Rauschenberg / Warhol / Berman sphere of influence using the same found elements in the books. Art from the book as opposed to a book coming from art. As many times as I could pull it off—which, in this case, was 5ive.

That’s what I wrote for my gallerists, Jody and Stephen at These Days. I should talk about them really quick. What started with a close friendship turned into my Sexual Fictions and Floyd shows. Let’s talk about things that often don’t get talked about when you talk about gallerists: the mentorship and advocating and promoting and making sure their artists thrive creatively — while building long-term success and recognition. Also, without mentioning it once, both helped me deal with the one thing I dread most as a creative — the varying degrees of imposter syndrome that fuck with my head almost daily.

I’ll end this post here: 5ive Times Floyd invites you to explore the tension between memory and reinvention through found, vibrant visuals and non-narrative storytelling.

The paintings are still available. I made 50 total books; 40 hand-sewn in wraps and 10 bound in cloth and slipcased. There’s still some copies in wraps available.

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Hidden Gems: Rare and Forgotten Beat Generation Books You Need to Know About

Various pictures of the Roxie Powell book Dreams of Straw published in 1963 by Dave Haselwood at the Auerhahn Press.

Common knowledge: The Beat Generation produced some of the most influential, rebellious, and avant-garde literature of the 20th century. More common knowledge: we all know about “The Big Three” — Kerouac, Ginsberg, and Burroughs. (Do we add Gregorio and call it “The Big Four”?)

But what about some of the lesser-known writers and their publications? Here’s three rare and overlooked gems you should add to your collection.

1. Dreams of Straw by Roxie Powell

  • Published by Dave Haselwood’s Auerhahn Press (and printed by Haselwood and Charles Plymell), Dreams of Straw encapsulates Powell’s distinctive poetic voice, mixing surrealism, nature, and existential musings. A lesser-known figure within the Beat circle (was he really “beat”?), Powell’s work is a hidden treasure.
  • Roxie’s poetry reflects the more experimental side of Beat literature that didn’t gain mainstream recognition. Too experimental, probably. And isn’t “experimental” sometimes a code for “difficult to read”? Which is exactly what these poems are not.
  • Mark Faigenbaum is a San Francisco-based artist renowned for his innovative mixed-media assemblages and collages. While I was in grad school in SF in the late-90’s, he put a copy of Dreams of Straw in my hands and told me Roxie was the best poet I had never heard of — a line I steal whenever I first tell someone about Dreams of Straw. I loved Dreams of Straw so much I wrote to Roxie, and eventually we spent an afternoon wandering San Francisco. He told me some terrific stories. Oh, those sugar cubes! A few years later Wild Whispers was published. I’m really proud of that book.

2. The Hotel Wentley Poems by John Wieners

  •  First published in 1958, The Hotel Wentley Poems is a raw, emotional collection that documents Wieners’ life as a poet on the fringe of society. The collection focuses on themes of love, loss, and longing, with a lyrical style that’s as haunting as it is beautiful.
  • Certainly not as widely recognized as Howl, this collection is considered by many literary insiders to be one of the most important works of its time, showcasing the vulnerable, emotional side of the Beat experience. In other words, Wieners is a “poet’s poet”.
  • Wieners’ poetry had a profound influence on the LGBTQ+ literary movement; and along with Ginsberg, Wieners was one of the first Beat poets to openly explore themes of same-sex desire.

3. Howl of the Censor – Edited by J.W. Ehrlich

  • This important but often overlooked book documents the 1957 obscenity trial of Allen Ginsberg’s Howl, featuring courtroom transcripts, essays, and commentary. J.W. Ehrlich, Ginsberg’s defense attorney, compiled this essential work to showcase the fight for free speech in literature.
  • It’s not just a legal document—it’s a historical record of a defining moment in literary and cultural history. Collectors of Beat ephemera will find this book invaluable for understanding how censorship shaped the movement.
  • Ginsberg himself referred to the Howl trial as one of the most important events in his career, as it turned the poem into a symbol of artistic resistance.

Collecting Beat literature is about more than just owning books—it’s about uncovering and discovering the little books and pieces of history that shaped a cultural revolution. While Naked Lunch or On the Road will always “steal the spotlight”, these three hidden gems reveal the diverse, experimental, and often under-appreciated voices of the movement — as well as the real-world legal challenges the Beats faced in a post-war, Eisenhower / John Birch America.

Check out my listings and don’t miss the chance to discover the books that helped shape the underground literary world.

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4 Records.

A picture of the record "Jungle Marmalade" by The Lemon Pipers.

Blogger’s note: If you’re not familiar with my newly-found record collecting habits, you might want to read this entry first.

Jungle Marmalade (1968) is the second and final album by The Lemon Pipers, a band known for their blend of psychedelic pop and bubblegum rock. Released on Buddah Records, it followed their hit single “Green Tambourine.” The pretty much sounds like you’d imagine — typical of the era, the band’s name, and what’s going happening on the cover. It also marks the end of the band’s brief run.

I had no idea about The Lemon Pipers — let alone Jungle Marmalade — when I picked it off a small stack of records at the Topanga Flea a couple months ago. But I did know about their song “Green Tamborine”. (You probably do, too.) I just didn’t know a band from Oxford, Ohio called The Lemon Pipers sang it. (In addition to “Green Tamborine”, I’ve heard “Jelly Jungle’, too. (You’ve probably heard it, too.))

I paid the dude $4 for Jungle Marmalade — a bargain, according to Discogs.  I actually paid him $5, but he didn’t have any singles…and since it was a fairly clean copy, I told him to keep the buck. Which didn’t come off as an arrogant thing to do, but writing this now makes me sound totally dickhole-ish.

I also scored a stack of professional wrestling 8×10 promos from the 50’s at Topanga, which, to me, is way more exciting than a Lemon Pipers record. And since I recently took 5 of my records in to trade at my very favorite record store  — The Ghost of Eastside — my record collection now stands at 4 records. But I did walk away with 6 when I left Eastside; I just don’t have time to write about it now. I’m about to take my mom out for a plate of spaghetti.

 

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Carl Sagan on The Book.

A picture of Carl Sagan in front of his books

Spend three minutes here. Or, at least, read Sagan’s quote:

“It’s a flat object made from a tree with flexible parts on which are imprinted lots of funny dark squiggles. But one glance at it and you’re inside the mind of another person, maybe somebody dead for thousands of years. Across the millennia, an author is speaking clearly and silently inside your head, directly to you. Writing is perhaps the greatest of human inventions, binding together people who never knew each other, citizens of distant epochs. Books break the shackles of time. A book is proof that humans are capable of working magic.”

Carl Sagan

 

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8 Records.

The cover of Diet Cig Do You Wonder About Me?

(If you’re not familiar with my newly-found record collecting habits, you might want to read this entry first.)

The thing about Grace Records is you’d never imagine it being a decent store — if you’re judging record stores based solely on location. It sits in between a Hot Topic or a Box Lunch or a Sephora or a Victoria’s Secret…which is kinda by a Macy’s and just a few blocks from a Dick’s Sporting Goods which is right down the street from Joanne’s…or a Target.

In other words, smack dab in the middle of Suburbia, USA — which is where I now call home.

But the buyers at Grace do a good job — and not only with RSD and new releases. Recent finds include a second pressing of Harry Smith’s Anthology of American Folk Music (all three volumes with the ephemera laid in all three boxes!), some great Blue Notes, as well as the 7th and 8th records in my now-resuscitated-but-limited-to-10 record collection: Diet Cig’s Do You Wonder About Me? (in the limited-edition “baby pink” pressing) and Martin Frawley’s Undone at 31 (pressed in blue-marbled vinyl).

Not that it takes a record buying genius with Diet Cig and Frawley. I found them in the price-reduced bin, and since I had never heard of either act, I gave both records a shot. Besides, I liked the album art.

But you know the old saying — never judge a book by its cover. Which isn’t to say either record was bad; in fact, one of the two is going to make a nifty present under the tree for my 17-year-old niece.

Which will bring me back to 7 records.

 

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Leaving Los Angeles.

this is a movie set in downtown los angelesI like listening to Marc Maron’s WTF. Have been for years. Especially his 5-10 minute little rants/rambles before he runs with his interviews.

From Maron’s podcast today, and even though I’m putting his words in quotes, it’s more of a loose paraphrase — but I need to credit him:  “It wasn’t even a déjà vu feeling…I’ve been in LA on and off a long time, pretty much I’ve had a place there pretty much since, what? 2002. In one way or another. So I just walk out of this theater (it was the Vista Theater over in Los Feliz) and in my mind all these moments I’ve been in that area throughout the entire time i’ve been in LA just kind of congealed into this feeling of — what happened to all that time?”

What happened to all that time.

It’s a universal feeling we all have, so much so it’s kinda cliché. Part of the human condition, right?

Yesterday, as I was making my way down the 101 to DTLA, I exited early at Vermont Avenue. GPS had me avoiding the 101’s  brutal afternoon traffic. I was coming back from the Valley, where I just just met my editor and handed off stacks of hard drives. My editor — now my ex-editor — was hired by the company who purchased my production company. And this was a final hand-off of sorts before I pack the last of stuff and move back home to Arizona.

(Side note here: a block south of the Vermont exit, on the right hand side of the road, is a burnt-out (literally…there was a fire a few years ago) Korean hotel. It’s always been a hotel, and long before it was a Korean hotel, it was the hotel where the love of Charles Bukowski’s life — Jane — died in 1962.)

Bucking GPS’s best route home, I chose to head to 7th street, turned east and went by my very first Los Angeles studio. It’s right across the street from the La Placita Market, where I used to run in to get my 11pm sugar fix before going to bed. Which is right down the street from Southwestern Law School, which is now housed in the old Bullocks-Wilshire department store.

(Side note here: back in the day, that Bullocks-Wilshire used to have, on 24-hour call, models with the same, exact measurements as Marilyn Monroe, Audrey Hepburn, Jayne Mansfield, Lucille Ball, Elizabeth Taylor, Grace Kelly, Debbie Reynolds, Doris Day, et al  so when and if any of the ladies I just named show up to try on clothes, well…they didn’t have to actually try anything on.)

As I sat in the car in front of my first LA studio, 24 hours before listening to Maron’s show I mentioned in my opening, I thought something along the lines of this isn’t even a déjà vu feeling…I’ve been in LA on and off a long time, pretty much I’ve had a place there pretty much since, what? 2004. In one way or another. So as I sit in front of my old studio thinking about all the moments I’ve been in this area throughout the entire time I’ve been in LA it just kind of congealed into this feeling of — what happened to all that time?

What happened to all that time.

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Vintage Bookmarks from Bookstores both Current and Long Gone.

This is a picture of vintage bookmarks from bookstores both current and long gone. I have a thing for vintage bookmarks. Actually, I love all bookmarks, but the ones lacking the most information are the ones I like best.

A bookmark without website info is a good one.

A bookmark without a USPS zip code is a great one.

A bookmark with no area code is super duper!

A bookmark with the phone number starting in letters and forming words? Call LOcust 3-4150!

Oh my.