#mikinterviews

You reside in New York and grew up in Jersey, correct? How do you think your locale plays into the themes and imagery of your writing? Does it affect your writing in other ways?

Yeah, the east coast definitely plays into my writing. I love New Jersey, the suburbs near the ocean especially (that's where I'm from). I work union construction in NJ too even though I live in NYC. I meet so many interesting characters while doing my work in NJ at powerplants and refineries. NYC is full of the craziest assortment of peeps. I get a real kick out of the vast assortment of weirdos I meet. 

What's the last book you read?

I read Lindsey Thomas' Blind Date at the Glass Eye Disco while doing layout on the interior for Kleft Jaw Press and I loved it. Funny stuff,

wonderful stuff. 

Right before that, I read Swamplandia! That was a real good book, too. 

Can you tell us about UNO KUDO?

Uno Kudo is an art meets lit, full color glossy book  that I edit with Aaron Dietz to raise money for charities (the last book raised some cash for PEN INTERNATIONAL). The writing is paired with exceptional artwork gathered by Erin McParland. Generally it's a once a year affair, and we do a couple big readings to celebrate in New York City and Los Angeles. I'm pretty excited because Uno Kudo 3 is about to drop and this time out it will be available as a print publication and as a ebook for all devices. So, look for that. 

You've been involved with a few other small presses, like Kleft Jaw and now Piscataway House. How did you find them and become involved with them?

Kleft Jaw is a major interest of mine. I do book layout and digital design for their releases. I've also been reading and help to select the poems and short stories that make it into the pub. Frankie Metro and Dustin Holland run things over there and do a real bang up job. I'm also involved with Red Fez as an editor and Jmww as an editor. I do all this editing because I am very eager to improve my own writing, the best way I've found, is to do a lot of writing and communicate with a lot of editors. It's a very eye opening experience. You get to see what works and what doesn't for a lot of people behind the scenes and you can apply as much or as little of that to your own work. 

I'm not involved with Piscataway House, they're publishing a novel of mine, Tollbooth. 

And, to clarify-- I noted that you were 'involved with' Piscataway House when I meant 'published by.' My question is, how do you find small presses like Piscataway to publish your work? Did an agent find them for you, or through your own research, or through the connections and networking that are so vital to writers? 

Oh! That's a great question. I found Piscataway House in a very unconventional manner, the short answer is networking ... Talking to a lot of different writers, paying attention to who gets what published where, following links ... going to readings and events to check things out (Brooklyn Book Fair, AWP, that kind of thing). The long version of that answer goes likes this: I was in a noise band back in 2001, and the drummer and bass player were both incredible musicians and had their hearts set on us all relocating from New Jersey to Los Angeles because that seemed like a better place for a band to live, and try to get picked up by a label, plus ... come on, it's California. 

  The band was playing a show at a bar in NJ, near the ocean called the Brighton, after the show, I said goodbye to my drummer, helped him pack his stuff in his car and then he drove off to go to a party that I wasn't sure if I was gonna go to. I went back in the bar to use the toilet before leaving and I found that the bowl was packed solid with photocopies booklets. I mean, jam packed. I went to the bartender, mentioned the toilet and she said, "Oh god! They did that again!"

  She said it was a local writing 'zine called the Idiom. The publisher of the Idiom dropped off about a hundred copies of it every month and the bar gave them out for free to customers who waned one. Some of the drunks thought it was funny to piss on them and stuff ... The bartender gave me a copy of the Idiom, I went and pissed in the alley. That was the end of the night. The next day, I got woken up by a very fucked up phone call. My drummer had overdosed in his sleep. I was very screwed up by all that. The funeral was one of the worst days of my life. But, a few weeks later, I remember looking through the Idiom and reading some of the writing and, I guess because I'd decided to not play music any longer ... I wrote a poem about the time my local video store burnt down to the ground and I got out of a bunch of Super Nintendo late fees, and when I send it to the Idiom, they accepted it and sent me $75 in the mail, 'cause I'd won some kind of writing contest that they were having and didn't even know about it. So, that right there got me hooked with writing and submitting and as the years went on, the Idiom still comes out and they still give it out for free and over the last couple years, they've started putting out books under Piscataway House. So, yeah, that's the long answer. 

Man, that's some heavy stuff. Speaking of other artists of various mediums... How much interaction do you have with other authors? How do you meet them?

I have a lot of interaction with authors, editors, small press publishers. Living in NYC, pretty much weekly I get the chance to hang with writers and editors who I really admire. Going to readings, doing a reading offers a lot of opportunity to meet and learn from those peeps. My advice to somebody who wants to learn how to write well, take every opportunity to meet people who do what you want to. Networking is no joke and its fun because everybody likes alcohol.  

So, your latest novel TOLLBOOTH is about to be released by Piscataway House. Can you tell us a little about the novel?

It's some pretty twisted literary fiction told from the first person point of view. Here's the synopsis:

"Jimmy Saare works in a tollbooth on the NJ Parkway handing out change of a dollar. He's had a mental snap that has set him away from his pregnant wife, Sarah, and is drawing him towards the 19-year old Gena who leans seductively against the Officetown copy machine. As Jimmy acts on his desires for Gena he is unexpectedly drawn deeper into the strange manipulations of an anarchistic teenager, Kid With Clownhead who wants to start his own destructive cult when he grows up."

I think it's a pretty funny book too though, at least that's what reviewers tell me, so I think the humor kind of saves some of the despicable aspects of the book. But, who knows. 

  What's the scariest part of publishing a book?

It's putting something out and knowing how much work went into it and saying "this is done". Also, there are always errors, small grammar slips and errors, even when the thing is professionally copy edited (I've seen typos in the New York Times and Penguin's books). A person putting a book out, has to accept those errors and just say, "that's life".

You're doing something pretty unique with serializing TOLLBOOTH on your blog, making it free to readers. Can you tell us about your motivation behind that?

I love giving away as much stuff as I can for free. I'm a real bad salesman. I mean, I do readings sometimes and just give books away for free. I love serialized material, for instance, current TV shows like Breaking Bad really make me interested in the idea of serialization. I thought Tollbooth would be an excellent title to split up into digital snippets, chapter by chapter and post online. 

What advice would you give to aspiring writers?

Have fun with it. Don't become a miserable fuck about things. Also, a lot of it, ya know, is all about actually completing projects instead of starting a project and never wrapping it up. I make time for things but don't let it interfere with my personal life by doing most of my writing on my phone typing with my thumbs on my coffee breaks and lunch breaks. That's about 45 minutes a day, that's all you need, and I write a little bit more at work after my shift is over until traffic dies down. Why would I wanna sit in traffic in exchange for that time?

Aspiring writers should make some efforts to learn what the general rules of writing are and then, at all costs do their own thing and put creativity first and leave the soulless drudgery of what is right and wrong to somebody else. 

Are there any questions I haven't asked that you wish I had? 

What are you currently working on?

I have a book of short stories coming out in December from Kleft Jaw called Lightning Box, so I'm working with editors there to tune the book up correctly. They're all linked short stories, with characters and events and themes running through, so it's kind of closer to a novel than a short story collection. That book will be a little different because the stories all kind of "magical realism" ya know, like--anything can happen, that kind of thing. HBO's Amazing Stories, the Twilight Zone, Ray Bradbury meets Bukowski, that kinda thing, I think. 

I'm also writing a book called Teenager, which is two interconnected novellas I'm from Electric Peak, and Teal Cartwheels. Each novella tells a different version of the same story. A kid kills his girlfriend's parents because they've forced her to have an abortion and the teenagers go on the run through America. The first novella is his version, the second novella is her version. It's that classic American Bonnie and Clyde thing, that Natural Born Killers thing, but these two aren't psychos, and maybe things are just slipping away from them and they're trying to keep their love affair going as long as they can despite all that's closing in. 

I'm also shopping around a novel called F-250, which is about a guy growing up in NJ, working for himself as a stone mason, and playing in band, who falls into a three way relationship with two girls June Doom and K Neon right as his drummer overdoses. They all travel up to Mount Mercy to build a tomb for the drummer and things get even farther out of hand. 

So, yeah. Those things. I'm trying to stay busy and I've been lucky to make some great friends along the way who have helped out in unexpected ways. 

  Check out Bud Smith's blog (and subscribe to read TOLLBOOTH serialized for free!)

Follow Bud Smith on Goodreads

Tell us a little bit about your upcoming work, The Numerous Hauntings of Archey P. Caane.

Well to be fair, I haven't looked at the MS in like 5 months, and since that time the original idea has changed quite a bit. At first, The Numerous Hauntings of Archey P. Caane was to be a collected homage to the idea of reincarnation, more specifically, the continuous cycle of begrudgery the title character's, I dunno, essence?, experiences in a dystopian setting, falling in line with science fiction more than actual poetry I suppose. Archey P. Caane is a leader, an icon, a symbol, a gesture, a grease spot, a demon, a robot, and the blindsided baron of everything the fictitious society around him has come to expect/love/loathe.

However the new concept, still including the aforementioned details, will actually be a double sided book, with side B being a short prose-play that follows the exploits of different (genre'd?) writers living at a community playhouse, while setting up for a performance that depicts Ayn Rand as the head of an American internment camp run by plumbers... Yeah.

You've mentioned in another interview that it was inspired by the pseudonym of another author, Dustin Holland. What importance do you place on forming relationships with other authors?

That's a tough one for sure. I've always had a... see... well, it comes down to who the relationship is with, and the motivation behind it. In my short dealings with the "small press" (I've only been hanging around since 2009,) I've come across more than my fair share of "enemies", and that's not to say it's a bad thing, because someone much wiser than myself once said, that you know you're making an impact if your hater list is long. But when I was growing up, I placed little to no importance on even letting people hear/see my work. I started writing at the age of 13, as a means of venting frustrations I was having at the time. Today, I can't say that sort of motivation has changed all that much, except now, I'm surrounded by a cadre of good people that got my back. Let me say that again: "Good PEOPLE!" I think that's where the real dividing line has been for me, as far as my dealings with other artists, is whether that person is genuine. It's so hard to tell with the advent of social media into the ventures of writers. It's taken away some of the mystery that used to make us keen on these figureheads in the first place. So, I guess, to answer your question more directly, I place great importance on my dealings with other writers, because in all fairness, it's what keeps me from turning over and getting a gig at the 7/11 in the Warzone (San Mateo Blvd, Albuquerque).

Your wife, Lindsey Thomas, is also a writer, correct? What's it like to try to live and co-exist with another writer?

Lindsey is the only constant in my life, both as an artist and as a human being. She knows more about me than anyone, and it has been that way even before we were married. We used to spend hours upon hours on the phone discussing books and art and movies, etc. She would call me from random places like South Korea, Guatemala, and Miami, to update me on the appearance of the carpet in her hotel room, or the shady fuckers at the end of the hall trying to get her attention. Today, we get to have similar/new discussions regarding writing, dealings with other authors (ha!), as well as the future of what we see as a new/emerging aesthetic in writing: transcendental realism. We get to love each other face to face, and that would not even be an option, had it not been for writing, and our mutual affinity for masochism...

Can you tell us a little bit about your work with Kleft Jaw? What are your goals as one of the driving forced behind a micro-press?

Well, it's funny, because as one of the editors, our roles change from issue to issue and from project to project. We just published Lindsey Thomas' Blind Date at the Glass Eye Disco, and I've been working on that the entirety of my writing hiatus. Proofreading and artwork are the two things I love to do the most for Kleft Jaw. At the moment, we're collecting the materials for KJ #3, and I'm actually doing the page layout this time around, a duty typically reserved for the kid with the magic eye, Dustin Holland. Bud Smith is our go-to guy for all things promotion and layout related as well. It's really awesome having revolving roles, 'cause for #3, it's been a collaborative effort for me and Bud, making selections and doing the interior work. Here's to innovation and cooperation!

What do you think about self-publishing? Have you seen an effect of the self-publishing industry on micro-press?

I don't have much experience with self-publishing. From what I've seen, it can be a real double-edged sword. The profits are shit. Let's just go there already, if that's why you make books in the first place, and were wondering. But I think, as a means of making an impact, if you're tired of letting someone else dictate what you want to do and what people see of your work, then yeah man, you should totally do it. Someone tried to explain the difference between publish on demand sites and self publishing sites, and for the life of me, I still don't really get the difference. It's all something we're fucking passionate about; I say put it out there by any means necessary. Fuck the LIT POLICE... and the literal police too.

You've called some of your work 'transcendental realism,' a label often applied to Kleft Jaw as well. What does that mean?

Transcendental realism encompasses a lot of the aspects from different genres of art/writing. Excluding your vernacular worshippers out there, in some ways, transcendental realism really focuses on the addition of infrarealism (a style made very popular by Mario Santiago Papasquiaro and Roberto Bolano), as well as surrealism, dadaism, absurdist ideation, etc. As far as clear definition, that's something we hope will be different for different people. In a ways, transcendental realism's root is finding the reality of a situation through its characterization: these are elements primarily found in Dustin's collage artwork, as well as what Bud Smith so aptly coined one time: "the left brain stuff". We like to think and visualize scenarios that would maybe fit better in a graphic novel or a lunatic's one note song that sang true and touched base. Transcendental realism takes away the societal layers of a concept, pushes that through a juxtaposed shredder, and molds the final product with the intention of acknowledging the author/reader's cognitive boundaries-and elevating their understanding through application of lesson learned. Hey, maybe transcendental realism is really about action in art, more than anything. Guess that would explain why we idolize super-villains, punk bands, political activists, and the like huh...

Do you have any habits or routines you follow to make yourself write?

Habit: Do Routine: When it comes.

What's one tip you'd give to someone interested in making a career out of writing?

Don't. It's not a career, unless your name is Michael Chritton or whoever the fuck wrote those shitty Hunger Games books... Do it, because you can't imagine yourself doing anything else. Don't try to make it a job for fuck's sake. Totally ruins the fun.

What other projects do you have in the works right now?

I write music/book reviews for Unlikely Stories: Episode IV. I need to get to work on a book review right now as a matter of fact. Lindsey keeps telling me I should just go ahead and write an autobiography, but man, writing about myself, without being cryptic or transposing my "issues" onto a fictitious character, is the most difficult thing for me. There's a lot of holes in the mystery of how I came to be who I am, and frankly, I'm at the point where I just don't give a shit about the past as much...

Are there any questions you wish I'd asked that I didn't?

I think you just about covered it here. Jeezus Christ, I may have to hire you as a running Kleft therapist or something. You seem thorough. Thanks for the opportunity. Respect, F/m

Check out Frankie Metro's chapbook, The Anarchist's Blac Book of Poetry.

Read Frankie's reviews at Unlikely Stories.

How did the idea for Kleft Jaw begin?

Well, before Kleft Jaw started, I edited Guerilla Pamphlets. That's how I met Frankie Metro, who started KJ with me. After two years, I was bored/burnt out with Guerilla Pamphlets, so I quit. There was one last big issue and then it was over. But after a while, I wanted to start something new, and I think Frankie was thinking about doing something new too, so we decided to join forces. Now Kleft Jaw is Frankie Metro , Bud Smith, and myself, and I couldn't be happier with how its going.

How did Kleft Jaw expand from an anthology to a publishing company?

Initially, we were just going to do 4 online issues and 2 print anthologies every year. But we all talked about doing books in the future, and then we stumbled upon Createspace (a fairly easy to use print on demand service), and our good friend William Seward Bonnie had a kickass manuscript, so it made sense for Kleft Jaw to put out his book. William's book (GALAXY VS SABERTOOTH) was really fun to put together, so we decided to keep doing print books.

What projects do you currently have in the works right now?

Lindsey Thomas's amazing book BLIND DATE AT THE GLASS EYED DISCO just came out through Kleft Jaw Press. Her prose is spectacular. Its one of the best books i've read in a long time, complete with some really stellar illustrations. I feel really lucky to be near such a great project. The next big thing in the works is CAPTAIN HEAD. Its a book of my poems that i'm really excited about. My brother made the cover and Frankie Metro illustrated it. Its gonna look pretty respectable by the time its all put together.

What are your plans for this fall? 

This fall, my friend and I are going to travel the country. We're going to go on extended backpacking trips and camp in the woods and sleep on people's couches through December. Our post December plans are a lot more nebulous, but with any luck, it'll be a year of seeing new places, meeting new people, living super cheaply, and having adventures in the wilderness. In all honesty, I made/have been making these plans because this country is full of things I want to see and people I want to meet. Now that I'm out of high school, I have the time and the freedom to travel. Every day will have new rewards and challenges, but no matter what happens, I'll be more free (freer?) than ever before. I mean, i'm sure the experience will make me a better writer, but I'm doing this so that I can feel free and be happy.

You've been involved with projects with lots of other authors, from Kleft Jaw to readings and Open Mic events. What do you think about the importance of establishing community in the literary world?

Being involved in the literary community, both over the internet and in fleshworld, had been really good for me. I've had some kickass experiences and made some incredible friends. I owe a lot to everyone who works to make the community stronger. Without that sort of community, the small press wouldn't be able to function.

As both a traditionally-published poet and a major contributor to a micro-press, what's your opinion on self-publishing? What impact have you seen on micro-presses from the self-publishing craze and increased tools for self-publishers?

I have a lot of respect for people who choose to self-publish. In my experience, the more involved I am with the publishing process, the better. I enjoy being in control of my work. Its always a little nerve-racking to give an almost stranger a years worth of poems and say 'here you go! Please don't fuck this up, thanks so much!' On the other hand, having someone else publish your work can sometimes add a certain level of legitimacy to the whole thing. Like, it makes it clear to the author and the world that the book has gone through some sort of screening process, which definitely has some appeal. That's what's so cool about the small press/micro press: you can be involved in the publishing process and you can have a press support you. I mean, nowadays anyone with a solid work ethic and a little time can run a press without even spending all that much money. Shit, I don't know if this is really an answer to your question anymore.

Is there anything you wish I'd asked that I haven't yet? 

Well- as far as answers to questions you didn't ask me go: my favorite cereal is TRIX, I like brown sugar in my coffee, and John Carpenter movies make me happy. I'm about to start writing a long narrative poem about Michael Vick as Jesus Christ. These are links to various things I am/will continue to be involved in/books people should buy:

Kleft Jaw Future Present Past Issues

Kleft Jaw Collector's Edition

Galaxy vs Sabertooth

Blind Date at the Glass Eye Disco

Duckwalking Is The Only Way Out of Armageddon

    What genres do you write? What do you like to write about? Recurring themes, etc.

  Fiction and narrative, mostly. I like to write what I like to read. Most times I prefer to read what I am writing, rather than something off the shelf. I don’t know if that makes any difference as to whether my stories are worthy of being published by someone other than myself. Probably not. It’s difficult to distinguish between genres because it’s all mingled together in every story. Cutting it short: I am exploring the reasons we are the way we are.

Tell us about your upcoming novel.

  (I’m in a sweat.)

It’s bigger than me, and most days even I am in shambles trying to comprehend, so it’s difficult to describe. It’s an exploration. An allegoric study in ethics, metaphysics. Survival through persistence. The unavoidable collapse of what we think of as truth. Cosmic truths/everyday truths. The characters are all hopeless monsters, who have all just undergone things tragic, to which they’ve all been given a paranormal opportunity, to grasp, to alter, the ramifications of the lives they were living, the lives their parents were living, back home.

Do you have any plans for publishing your novel?

  I do have plans to publish, providing I stop re-writing long enough.

I’d rather not self publish. It terrifies me to think of self publishing as my only option. Reason being:

a. I’m not a publisher

b. I’d do it horribly. I am the worst person to pimp my work.

c. I need someone aside from myself, preferably indie, whom I respect, to believe in what I am doing, so deeply. This is because I am a junky. My drug is validation. It’s sick. It really is.

How do you write? Do you have a routine you follow, writing habits, or certain things that give you inspiration?

  I am a loner, unsatisfied, longing, so I write everyday. Sometimes I go to bed early so I can get up around four or five am, when the house is still dead. I’ll make coffee in the ninja with almond milk and caramel drizzle while praying the kids don‘t wake-they usually don’t. I gather my sins-smokes and things, put on a sweater because even in the summer it’s cold in the morning. Socks too. Close the door. Put on the music, something chill, sometimes rain or wood chimes. Today it was, Phosphorescent. Think. Think. Scold myself for thinking too much. Open up where I left off, re-read it, all of it. Re-edit. Stare at things, for about three more hours. Make more coffee. Stomachs growling. Reluctantly stop staring and smoking to go to the kitchen to find something to shut the whine out. Sit back down. Exhale. Hit myself. Harder than that. Pussy. Re-read most of what I wrote last night, again. People are getting up. The sun is blaring. Dogs are barking. Change the music. Smoke. Stare out the window. Now everyone is awake and they all need, something-start writing.

As a writer, how do you make the best of bad situations/ your personal struggles?

  I’ll draft a character representing the problem. Dialogue and dance and strip and lament, with the character, until we trust, and understand each other. Usually the problem isn’t a problem, the struggle isn’t a struggle, once you embrace it.

  Which writers do you really admire? Whose work do you draw inspiration from?

  I crave the earnest declarations of Anais Nin-who knew. She just knew. The rawness of Ginsberg and Kerouac and Bukowski and the like. The solitude of Virginia Woolf. The truth in Dr. Seuss. There’s also Rilke. Kierkegaard. Lautremont. I found Maldoro at my library. I’ve checked it out three times, since; weighing out the moral repercussions of intentionally losing it so I can call it mine. Emerson. Golding. Kafka: Kill me now, or else you’re a murderer. I feel like I should add writers, still alive: Nick Flynn, Anne rice, Patti smith, Rebecca Solnit. There’s so many writers.

What's your view on the direction publishing is going? 

I can appreciate that power in the hands of the writer, but I do feel like I’ve missed the better boat; Stephen King says we’ll be fine. But I don’t know. It’s depressing. specifically the fall of so many book shops. As long as actual pages stick around, I think I’ll manage.

  What's one question you'd wished I'd ask that I haven't yet?

  I’d like to touch on rules in writing.

Particularly-What we’re allowed to write.

1. Fuck is a word. It cannot reach out from the page and slap your face. We’re not required to get offended when we hear it, or read it. (Same with sex) People say fuck a lot. I read something about only four 'fucks' being allowed in a novel. That’s probably false but it’s something like that. Four fucks, but Christian Grey can sputter all over the place. Four fucks goes unknown, goes indie, goes self publishing, but Christian Grey and his Story of O goes national.

2. Perception is relative. (I talk about this is my novel.)

I still think about the interview Kurt Loder from MTV, gave Jewel, after she wrote that book of poetry. He cited something she’d written and then smiled and said, that doesn’t make sense. And it mortified, Jewel. If that were me, I would have said, It doesn’t have to. Next question.

Now, as per the title... Did you get laid off, travel, and then write the story? Or did you write while traveling?

I took notes while traveling. I have always enjoyed writing, especially humorous stories. When I returned to San Francisco, still unemployed I decided to spend a few hours each day putting together these notes into a book.

Do you have any tips for writing about traveling?

I think for me it is noticing the small things. The small things are what create the vision in the mind. The way a perfectly dressed French waiter moves gracefully through a crowd. The laughter of two teenage Italians eating gelato at sunset perched on the corner of the bridge. Two nuns riding old, bright colored bicycles through the piazza, dodging pigeons.

It isn’t so much about the main sights, but about the people, the locals, and the flavor of each city. That is the best part.

How did getting laid off impact your decision to travel? Was it scary, traveling while less financially-secure?

Yes, I was nervous. I had saved the money and planned the trip rather well, but I was extremely concerned about my return. It wasn’t the travel itself, but the fear of what I would face when back in the “real world.”

What, in your opinion, is the greatest freedom offered by traveling?

Being an entirely new person, especially when alone. There is a mystery about you when you are on your own. Also, I felt more open to speak to strangers. Unless you want to only listen to the sound of your own voice, you have to step out of your comfort zone and strike up conversations. I met the most interesting people that I probably wouldn’t have if I were with other travelers. Some of these characters are in my book and still very memorable to me.

What's the greatest freedom offered by writing?

There are no rules to writing. Sharing your ideas, stories and thoughts with others is a beautiful thing.

How do you use humor to cope with, say, extremely stressful and scary situations like losing your job?

This has been the way in my family. I grew up with humor to deal with any uncomfortable situation. I learned so much from my parents and sister that a little humor can be an incredible stress reliever and antidote to fear and anxiety.

What's your writing process look like? Any routines or habits?

I just like to write notes in a simple journal that I carry around with me. I keep a pen and paper by my bed in case I have thoughts in the middle of the night. Although when I wake up I can barely recognize my own writing!

How do you define the concept of 'home' while traveling? Or is it even still relevant?

I think nowadays, unfortunately with Internet being so accessible, you are only one email or Facebook status away from connecting to “home."

Are there any questions you wish I'd asked that I haven't?

I don’t think so! I think you covered it all  But, I have listed the links where anyone can find my book!!!

Amazon (both Kindle and Print)

ITunes

Barnes & Noble