Smash Cut: a Memoir of Howard & Art & the '70s & the '80s
“Chelsea was slimly prospected as a residential neighborhood. We calculated that there was no movie theater, no bookstore, and no copy shop. With Howard the engine, and me the caboose, we opened Chelsea Copy, in a narrow little storefront next to the hotel entrance. Howard dealt with Stanley Bard, because the hotel owned the space. He raised money from Joe LeSueur, an investment Joe would come to regret. And he found Hector, a “humpy”—we called him—Latino guy, our one employee. My contribution w...as asking Frank Moore to paint our sign, which he did in beautiful burnt orange, red, and black paint on wood. I also looped back to Columbia, where I started writing a much-too-serious-for-my-own-good dissertation on the influence of the sermons of Lancelot Andrewes—chaplain to King James I—on T. S. Eliot. Howard, highly convincing, promised that I could sit upstairs, typing away, while he and Hector cleverly made the nascent business soar.
The business never did soar. One of its odder patterns was that whenever Howard went away for stints of filming and I was left, with my patent incompetence, to handle the shop, the receipts from the register at the end of the workday spiked.MoreLess
The business never did soar. One of its odder patterns was that whenever Howard went away for stints of filming and I was left, with my patent incompetence, to handle the shop, the receipts from the register at the end of the workday spiked.MoreLess
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