Special Report: Wildheart - The Leslie Winston Collection

Oh j is, folks, it's show tied. People say good money to see this movie. When they go out to a theater. They want clod sodas, hot popcorn in no monsters. In the Projection Booth, everyone pretend podcasting isn't boring.

Got it off? Hey, folks, Welcome to a very special episode of The Projection Booth. I'm ros Mike White, and I am joined by Mark, Jason Murray and Leslie Winston. All about the new film wild Heart. Actually, it'sought a really new film.

It's a new collection of films. It is a series of loops that have been put together as a new Blu Ray. We talked from mister Murray a few years ago about his book on Dolomite. We didn't really talk too much about Ultraflesh Archives, which is tough to say for me, but very enjoyable. Mister Murray is doing a great job of archiving and bringing to light a whole lot of stuff that really has been pretty much relegated to the dustbin of history.

Had a great time talking with him and Ms Winston. Definitely check out ultraflesh archives dot com. Thanks so much for listening, and I hope you enjoy the interview. What is your relationship with the Ultraflesh Archives. I am Ultraflesh Archives.

He is the Ultraflesh Archives. And how do you decide what to put out? Well, I'm trying to do stuff that's different from what's been released already. You know, in the loop category. A lot of this stuff that's come out has just been random, seemed like random selections of loops.

There's nothing that's really like curiating something special. I just decided to make some stuff it's more specific, you know, specific to the stars, not necessarily specific to theme, but the releases that I'm doing, trying to make them much more classy and also what's the term I'm looking for here? A little more thorough with with a lot more attention paid to the material. If we could just kind of like, we'll just go back to the beginning. This kind of all started just dating about a decade ago.

Mostly it's my wife's fault. I'm gonna blame her. We had started like buying up magazine collections and such. This all stemmed from her decorating our bathroom with pictures from adult magazines, and so we kind of had this quote unquote pornoe bathroom. So I started going on Craigslist and buying people's magazine collections, people that had passed away.

You know, there's a lot of interesting stories just about meeting people and some you know, a wife selling us her husband's prized you know, adult magazine collection and being very happy that weren't a reseller and that we were going to you know, preserve and collect these things. And I always had a little bit of an interest in loops and the material that I had seen coming out just wasn't the quality wasn't really there. I wasn't very satisfied with the way that it looked, and so I got this generalized idea that that's how they look. You know, they look like garbage. They look like you know, there's hardly you can barely tell what's going on.

They're so dark that it's just almost unwatchable. And there were some releases that have come out. I'm not here to disparage anybody, it just you know, I'm trying to do my own thing. And I started to started to collect the loops and I found a collector and he had a lot of duplicates and things, and I started buying from him. And then as I started watching them, I'm projecting them and realizing that they don't look that bad and they could look better.

So, as I I was wrapping up my work on the R. Ray Moore Dolomite book and all the things that were going along with that, this was just kind of percolating in the background as what's going to be the next project that, you know, that I'm going to work on. So I had to complete all that when there was still a lot remaining with the dolomite as my name coming out and then my book coming out and all that. So I started to realize that they could look better. And I went through pretty much every transfer process from the cheapest and then I realized that what I was seeing out there was from people using the cheapest possible equipment, low resolution, and just no attempt to make any kind of improvement to the visual quality.

So eventually I just said screw it, and I bought my own transfer equipment, you know, not the store, bought garbage that that people had been using, and pretty much spent about two years just playing around, just transferring movies, messing around trying to figure out how to, you know, how to restore them, what's software to use, what's affordable. You know, I'm not Criterion, so I can't afford a piece of transfer equipment that costs more than my house, you know. I mean that's that's the truth, you know, And that's that's why it's hard to do this. And I don't think people necessarily realize what is involved in film restoration. You know, you need computers, you need data storage, you need physical storage, and there's a lot of a lot of stuff that goes along with it.

But I just kept tinkering and working on how to transfer, what gives me a better transfer, working in color correction, and when I got to a point where I was satisfied and thought that what I was doing was was valid and looked good, then I just you know, took it from there and with the desire to do some physical releases. I mean, we're both fans of physical media. I mean, that's that's where it's at when I get involved in something and I take a liking or an interest at ten thousand percent. So it just it was it was all in and just through my minor involvement in the adult spectrum, you know, of of classic adult films, and and just becoming friends with people who were in that era, you know, like Leslie and other people.

It just kind of in a way made it easy to do a project like this because Leslie and I were already acquainted with each other and and she was interested in that and was in a period in her life where she was ready to knowledge and celebrate that period of her life. In a way, it's it was really easy to do this because it's just how my personal inertia works, you know, And in terms of how I function, I have an energy that has to be folkocused on something and this is where that energy goes, pretty much determined that this is what I'm doing until I die. So my dad had a few Swedish erotica loops. But for the folks that are listening at home, can you talk a little bit about loops and the loop phenomenon.

Loops is kind of a loose term for short eight millimeter or super eight films. It could also refer to sixteen millimeter. The term loop originates from forty second Street in the sixties and seventies. I don't remember exactly when the first guy decided to rig his machine, but what it meant was you would go to a booth and you would put your quarter or nickel or whatever it was in there, and you would see a certain amount of time movie. You know, hopefully you got to see a good part, or you had to put in another quarter and wait, you know, and see what was going on.

But they would rig the machine up so that it would play continuously in a constant loop, so they didn't have to go into the equipment rewind the film or put another film in there. It just was constantly playing on a loop. So it's become a general a general term. Technically, it doesn't apply to the current scenario. I mean, we're not playing them in in booths, you know, peep show booths and things like that.

But it just it's it's an understood term for eight millimeter and super eight millimeter films, and it's actually amazing to me how many of those were made, you know, for the for the home market super eight in eight millimeter films, you know, go back to eight millimeter, goes back to like the twenties or thirties. Super eight I think was I'm going just loosely off of memory, here was I think in the mid sixties or early sixties. So you know, part of what I'm doing here, I think is I always are interested in a niche of a niche of a niche. One of my challenges is to one show that these can look good. You know, we're not talking seventy millimeter, you know, one battle after another.

These are shot as cheaply and quickly as possible, and manufactured as cheaply and quickly as possible. You're not going to get the type of resolution from an eight millimeter film, which actually the film frame is much less than eight millimeters, it's just the width of the film strip itself. But to show that you can get better quality. I've heard people say that there's nothing that you can do with these, and I think I've already proven that, you know, you can do some dramatic increase to the quality of them, whether it be just by cleaning up the damage, color correcting, and things of that nature. So partly proving or trying to convince people that these can look better, and also showing them and hoping that they'll understand.

And what I believe truly is that they have value in the history of you know, of erotica. Miss Winston. I'm sure you've been asked this a thousand times before, so forgive me for asking one thousand and one. Can you tell me a little bit about how you got into the adult industry. Let's see, I wanted to make some money, and I was mad at my father, you know, lack of those just a bunch of staff.

My mother had died, and I had wanted to I was planning on going up to San Francisco to go to college. But anyhow, I wanted to stop off and make some money because my father had remarried and all of this kind of stuff. So I answered an ad in the Orange County Register for figure models, and so I went and I thought, oh, I'll make some money and then I'll be on my way up north. And so ten years later I was still there, still modeling and making movies. And that is how I got into the adult industry.

And what kind of movies were you making? Were you primarily making features or how did these loops as we call them, how did they come into play? Okay, well, I did print work for about a year, just like magazines and magazine covers, and then my agent, Jim South, asked if I wanted to do a movie. And in those days, I mean, there was a lot of loops like they didn't have the you know, the videos, and so I started doing loops. And I did do one feature film called Bad Girls, and that was a major feature film.

But mostly I did a lot of loops, a lot of these you know, silent loops that Alter Flesh Archives is talking about. Mark's talking about how were the shoots? I mean, were they pretty quick or how would you prepare for those? Well? Usually I wouldn't eat for a couple of days because I wanted to be thin.

They would take you know, half a day, maybe a whole day sometimes because they would take lots of footage and then you would have to do stills with it, so like if they were promoting it to put you know, the picture on the cover or whatever. So they definitely got your, you know, their money's worth out of you. They maximized every opportunity. A lot of these would have like a co magazine that would go with it or something like that. So they were doing everything that they could to get you know, every penny out of what the material was.

Did you have, for lack of a better term, like a specialty or a certain thing that you were known for. I did later on, I became very well known for my milk shoots because there was only one other woman, Angel Milk made cash. She was she was also she also did milk, so there wasn't a lot of actresses or models that did milk shoots. So I did become somewhat famous after I had my first daughter and was doing milk shoots. So I did become famous for that because I did do a lot of milk and what's the word fetishes like footsh or you know, tickling or enemas and that kind of stuff.

I did do a lot of that as well. So by milk shoots, you were lactating at the time. Yes, correct, Yes, Sorry if I wasn't clear about that, No, I. Figured I understood. I just want to make sure that folks understand what's going on.

No, that's great. They'll do them and they're not really lactating. And you can always tell because the stream of milk is, you know, just a straight stream of milk. That's not how milk you know, comes out. It comes out and you know, like a spray of like you know, five to ten, you know what I mean.

So it's yeah, so I definitely was lactating. Wait, you mean some of those other ones are phony oh man, so funny. How often would you do these? I did quite a few. I don't know, I was probably doing a few, I don't know, a handful of month, probably when I was lactating.

I hate to be indelicate, but did the loops pay pretty well. You know at the time for what they were? I think they did, you know, I mean it was pretty good money. I mean at the time. I wouldn't say it would be good money now, but it was pretty good money.

Then how would people interact with these? Would they buy them in stores? Would they order them via magazines? What was the way of distributing loop set? I think it was both.

Wasn't a mark I'm pretty sure it was they would order them in a magazine and or they could buy them in stores. Yeah, I mean it also depended on the companies. There were some companies, you know, you had mentioned Swedish Erotica earlier that was, you know, a major, major, a producer of this type of material. So those are the things that you would find in the stores, other things like limited edition and some of the larger companies, but there's also thousands and thousands of smaller companies that were producing these on a much smaller scale that were primarily selling them through ads in the backs of magazines, So you wouldn't necessarily have like a I'm imagining because I wasn't buying loops in a in a porno shop when I was six years old.

You know, you would you would see them, even some of them would say, you know, suggest a retail price seventy five dollars. I mean that's like four five hundred bucks in nineteen seventy eight, you know, conversions. I really doubt that they were charging that amount. I think it was just so that the stores could could likely you know, say fifty percent off, and now it looked like it was a deal, because who in their right mind at the time has really got five hundred bucks to spend on eight minutes worth of a porn But it is actually, I think I mentioned earlier, just amazing about how much material is out there, and even with I'm about seventy five hundred titles deep in my collection of eight in super eight films, I'm probably a total of somewhere around eleven thousand loops in total, because I have a couple thousand and duplicates that I'm always you know, if I'm doing a project, I might have three or four copies of the same item that I'm reviewing to try to get the best quality, or even sometimes like I did on Leslie's release, combined the intro of a eight millimeter film with the Super eight version because the super right is projected slightly faster than eight millimeter, so you would get a little bit more material on an eight millimeter film because there's time for them to have whatever little intro leads to the action, and then the super rates would often just kind of cut straight to that.

You get a little bit more run time from an eight millimeter, but you get better quality from a Super eight because the frame size is a lot larger. Right, Yeah, the sprockets are only on one side for Super eight. Correct, Well, they're only on one side for both, but you get a sort of a rectangular sprockets on an eight millimeter and they're placed in between each frame. And then a Super eight is a square, so they use that extra space that they saved from going square, and it's in the center of the frame. So it's really easy to just open up the film and look and see what kind of a you know, with it's eight or Super eight if you're not aware.

Usually the super eight as a larger hole in the middle of the reel than a eight millimeter does. But that's not always an absolute indicator that you have Super eight, because I've had hundreds of them that were put on eight millimeters that were put on super eight quote unquote reels. So and also like with the releases, like in Leslie's case, there's an infocard that's included in there with an actual piece of eight millimeter or Super eight film. Part of that is just because I thought it was a great idea just to include something like that to kind of celebrate the formats. The other is going back to what I said before about how to show people what you're up against.

So if you're looking at it and saying, wow, this doesn't look like, you know, the latest James Cameron movie, you're gonna you can go look at that frame and try to hold it up to your eye and see just how small you know, of a piece of material that we're working with here. And I think that's why a lot of people just say there's nothing that you can do with these, because it's just it is so small. But again, you know, I'm fighting that battle. I didn't realize they were that tiny until I opened the package and looked at the at the insert that you would put in, and I was just amazed by it because I thought, my gosh, it's so tiny. That's actually it's pretty cool.

Well, let's talk a little bit about Wildheart the Leslie Winston collection when it comes to what films were selected. Were these all from your collection or how did you decide this is what it's going to go on this disc. Yeah, everything comes from the archive that I'm building here and continue to build. Essentially, it's it's how many films do I have and what's usable? What's usable is often the challenge.

Having a lot of films is the easy part. I think in total, Leslie, you've done something like twenty two twenty three loops off the top of my head. So we ended up including sixteen total. There's one as a bonus loop that I ended up actually getting a better quality version later later on, and so I just threw it on there last minute as a you know, I say throw it on, not that it was to discount it, but you know, I had the option to put it there to include a little bit more of Leslie in the release. And that's what I was saying about going through three, four five different versions of the same item.

You can get one. Let's say you open one up and it's faded and totally red, so not a lot you can do there with you know, something you can do, but you're not going to have a lot of color definition when you're done transfer, you know, working with it. You could have something that someone has some dirt in their projector now there's a line going through the entirety of the of the film on the right hand side because they didn't, you know, keep their projector gate clean. You could open it up and realize, oh, you know, there's who knows how much footage is missing because there's no there's no head or there's no tail on it. So those are often In the case of Leslie, I bought one of her films four times and the fourth time I finally got the right film.

Inside. Part of it is a treasure hunt. You never know what you're gonna come up with. And so basically what I was able to determine was the sixteen best condition pieces of material loops that I could use, and that was what was included on there. Some of them were you know, For an example, there's a specific company that Leslie did two or three with that every frame seems to have this weird how do I describe it, like film over the top of it, this brownish film, and it's odd that that it's there.

It's not like in the entirety of the frame, but there's the majority of it has this weird something on it. There's been times I'll use the one that I mentioned that I used the intro from the eight millimeter, and then the full version of sixteen for Leslie that was called Valley Girl. I've had I think three different versions of the Super eight that were different. They were manufactured different. One had a longer opening, one had a shorter opening.

It's odd to me that they're different, but you know, in if you try to think about it, like my guess is that potentially they did like a reissue of it, and they wanted to cut their expenses even more so they shortened it and then they just started it at even a later point in this version of the Super eight versus the earlier versions of the Super eight. I found films that start with the end of another like they were cut incorrectly at the manufacturing facility. So that means somebody out there has a movie it doesn't even have the end of the film. I have seen some that showed the film playing forwards and backwards simultaneously on the same same movie. So you know, there's there was not a lot of quality control when they were, you know, manufacturing these.

Again, you never know what you're what you're opening up. I've opened up stuff that's had bugs in them, mold cocoon casings. And because people could have these in their attic, they have them in their garage, They're they're often not necessarily cared for properly. And part of that is because people are trying to hide them. They're not having them openly available in their home.

They had children or whatever, so they're hiding them up in the closet or in an attic or somewhere in the garage. You know, you find Grandpa's old porns dash. There is a lot of a lot of challenges with that. I should have asked this before, but how do you two know each other? How did you meet?

Social media? Yep, social media. When did you come to Leslie and say I want to do this project or was it vice versa? I think it just kind of happened organically because when I started Ultra Flesh Archives kind officially obviously didn't have any product to promote, so I kind of just started posting pictures of magazines from my collection and loops from the collection. One of the things that I kind of take pride in is that you know, these are the actual physical items here.

Anybody can, you know, snip a picture off of the Internet somewhere and post it, but I have the true item. So call it ego, call it whatever you want, but I'm trying to show that these things exist and someone is maintaining these things. And I think it just kind of gradually of maybe someone had posted a picture of Leslie and I would post a picture of one of her loops, and then we just kind of gotten contact with each other and it just sort of organically became what it is. I'm so proud of this project, and I'm just so grateful that you take pride in your porn. That's what he always says.

I'm a big advocate of that as well, So I'm really I'm just really grateful and it's a beautiful project. And one of the loops is my very first loop that I ever did is in this collection, and it's just it's really nice. I'm really president. Well, I'm curious how it is for you to go back and see these things. It was funny because I had forgotten when we were going over them, and I was like, I mean, I just had a laugh some of the things.

But yeah, no, it was very nice. It was nice and brought back a lot of memories. And there is a commentary over the over the collection that you can listen to if you choose to, and so get a little insight into what you're seeing and what's going on. It's really good. I mean, it sounds like Mark you had big challenges when it came to restoring these things, and I'd love that on your website you can actually see some of the progress of the frames and seeing just how rough some of this was to start with.

Well, and that's why I included also the like a restoration featurette on there, so you could see the raw scan, the computer cleanup, and then the final version, so you'll see the difference in the damage correction and also the color correction. I explained this in the little infocard But of course you want the computer to do the most amount of work for you. But there's oftentimes when I'll go through and manually correct other damages. It could be hundreds and hundreds of frames. You know, you're talking anywhere from eight to ten thousand frames on an eight millimeter film, so there's still a lot of ground to cover, and because the image is so small that you don't want to go overboard on your filters that you're using to you know, clean up and recognize the damage, because then you're also taking away some of the detail.

You might lose a finger tip or a tip of another thing, if you know what I'm talking about, you know. So it's even like something like let's say someone's whipping somebody, you might lose that whip in the movement. Sometimes because of the limitations of the format, you lose it anyways, like it's not necessarily totally visible on the original version. It is difficult. So I do the best that I can, and my skills continue to improve.

And it's not going to take two years for my next release to come out, you know. I'm actually in the process of nine releases at the moment, so there'll be more in terms of like these specific collections like I did with Leslie and I think that, you know, it's been nice because Leslie and I, believe it, have become great friends, and so I want something like that to be recognized when we're working on a project together, when people listen to our commentary, that it's not just like, hey, I just met you yesterday and we're going to talk about this and make it dry. Hopefully there's some I don't know if humanity is the right word in there, but but we you know, and this is also a sensitive thing. I mean, I'm sitting there with someone, you know, Leslie, watching her have sex with someone.

So this is an intimate scenario, and I tried to come to it with some sensitivity and I and I'm you know, I told Leslie, and I'm kind of matter of fact about this because all day long, I'm sort of watching these things and restoring them and working with them. So uh, Husser magazine is no different from a People magazine in some ways in my house. So I just I have to kind of reel myself in and just you know, say hey, if there's anything that makes you uncomfortable, you know, let me know and and we won't discuss that. Would believe and that Leslie had had a good time and was comfortable with it. Yes, it was great.

It was great for me as a viewer just because suddenly the person I'm seeing on screen has a voice. You know, there is no dialogue to these, you know. I like mark that you have the projector sound going the whole time to kind of give you that experience as if you were watching this in your basement or whatever with that projector. But now to suddenly have Leslie have a voice and be able to tell us more about this, it was such a good feature to have on this. No one's ever done that before shown loops and had a commentary with them that I'm aware of, and especially I can guarantee you no one's ever done it with the person who's the star of the loops.

So that's another thing that I wanted to do to set myself apart from others. Now, there's three other projects I'm working on right now that will be with Serena sous Niro and Ronda Joe Petti, and they will all be involved in those going forward. When I'm doing collections of a certain star, it's likely that there will not be any cooperation or cooperation is the right word. But these these people to you know, either disappeared or passed away, so having them be involved is an impossibility, but we'll be doing other things to I guess we could say compensate for the lack of their involvement to include some more features, you know, and I want these to be fun to watch. I want them to have extra context, which is why I included like an old black and white kind of nudi qut type movie.

You know, this is kind of the origin of where this all comes from. So and I have, you know, hundreds and hundreds of those in my collection as well. So I want to make these things available utilizing the little flexi discs that came with the magazines. You know, Leslie had done some, but unfortunately I wasn't able to locate any, so we included those here. But like I have some from Serena, so when we do this Arena collection, there'll be some of those there.

So it's also archiving it but making it available to everybody and making it a fun release that it's just more than you know, and endless selection of thrown together material. Yeah, I can't believe the packaging that all the stuff that's inside the disk with the disc and then everything that's on the desk. I mean, this is such a deluxe package. Very nice, Yeah, very nice. That's just my nature, you know.

I want it to look good. I want Leslie to be proud of it. I want to be proud of it, you know, Like I said, straight up, take pride in your porn. Like I try to generally avoid the vulgar descriptions that would come from the era. You know, the names of the Loop titles and stuff are.

They are what they are. But I'm not kind of outwardly celebrating that stuff. I don't. It doesn't bother me, but I'm not trying to. I'm trying to present things in a little bit more of a classy, classy way than what they were presented before.

And I know that that was all just marketing. You're trying to market your product, and it's you know, you go to the adult bookstore in nineteen eighty and you're looking at the back of the Loop boxes and you want your trying to buy the filthiest thing that's there. So they're trying to tell you that this is the filthiest thing that you're ever going to see. But I think we can we don't need that anymore, so I don't need to present something with a title write out that's vulgar. You know, thank you, Leslie for still embracing your past.

There are too many people that will just kind of distance themselves, so it was very refreshing to have you as such an active participant in this. I love it. I mean, I don't think I'd change anything. It was a good part. It was I had a good time.

What was the difference for you between doing the loops and then doing features, because I know you've been in quite a few features as well, including at least one of my favorite movies, Can't Race Sin. It was a little different, I mean because we had you know, we had to talk, so we had speaking roles, so it was a little different, but as far as you know, I mean, for us, didn't for me anyway, it didn't seem that much different because we're still, you know, having sex on screen, so it was the same thing, except that we did have dialogue, so you couldn't say, oh, ow, if that hurts, can you stop? Or can you move. That over or something like that. You know, you'd have to wait for them to cut and then just say, hey, can you have your position or something, but otherwise it kind of seems the same because you're when you're in front of the camera.

Did I read right? Did you win the AVN Hall of Fame last year? Yes? I did. Finally was recognized in the video category.

So that was really nice for me and I really appreciated that. Is there a good place for people to keep up with you and your work online? I mean, I have a Facebook page and I have a Twitter, so I have that and that would be great. And then Mark, I'm glad you mentioned that you're already got your next releases planned. Do you have any dates or anything in mind for.

Those not specifically yet? I'm still I'm still putting the material. I have all the materials and and pretty much for those nine releases that I'm that I loosely mentioned that I'm working on all the All the initial material has been transferred and initially restored. I guess we could say I still need to go through it and you know, fine tooth coment and and do the color corrections. But I'm assembling all the materials that I need.

I'll be meeting with you know, Serena and Soue Niro and Rondo, Joe Petty, at some points this year to do their commentary tracks. It's likely that the Serena will become a two volume thing, so that that gives me something else to do down the road, and hopefully I can do a two volume thing with with a souveniro as well. And then I have some planned for some specific company lines, some really obscure companies like you know, like a best of this company and such, and working on you know, what I'm going to do with the packaging, because I want my packaging to be nice. I have kind of an aesthetic that I'm going for. If you haven't figured it out, that kind of hot pink color is like the official color of Ultra Flesh Archives.

I mean, I'm trying to create a brand here as well as as an aesthetic. So I want people to hopefully they can look at something and say, oh, this came from Ultra Flesh Archives. I can tell right away, you know. The collectibility of them is also something that I'm conscious of because I'm a collector myself and I enjoy those things, so I try to include all of that in there as well. Like for example, we did a fifty signature editions of the Leslie Winston collection that came with a special signature card that she signed.

It had a drink coaster with Leslie's face on it. It also had a actual peep Show token. So those are the things that you know, to provide extras for or the collector market as well. So there'll be things like signature cards in the Serena and Sousniro and Ronda collections and things of that nature in there as well. I have an endless amount of film that I can cut up and include to give away.

Those just come from damaged films that I have. So if I have hundreds and hundreds of these things, instead of just chucking them in the trash, you know, I want to use them for something that's fun and helps add to the collectibility. And you know, they come in a paperback like it's like you left the porno shop and you don't know anybody to know, you know. So just little touches like that, I think are a lot of the things that are going to and already set me apart from what everybody else is doing. I mean, there's a condiment side, you know, have you ever bought a Blu ray that had a condiment side?

We're pro sex, pro safe sex. You know, get out there and get it on, so you know, and here's something to help you. You know, that's what it's all about, you know, Mark, where's the best place for people to pick up Wildheart or any of your other projects. You can visit ultraflesh Archives dot Com. That will take you to the shop.

There's hundreds of original adult posters from the period. They're not reproductions. Most of them have never been circulated, so they're in amazing quality that you're not really going to find in other places. There's magazines, some videos, and other things. I am going to wind down the store in terms of other items.

That was primarily just something to keep me going while I was getting this release ready, so I won't be focusing so much on acquiring things to make available in the store in the future. I'm just going to be focusing strictly on my own releases. When you go to ultraflesh Archives dot com as well, we have a online magazine. There's four issues on there. It's free and downloadable.

I'm working on a fifth again. That's going to not why down completely, but you won't see as many going forward as I was doing last year because I'm focusing on those releases as well as Gloria Leonard's biography. So I have quite a full plate of things to do as well as live a normal life like every other human being. So so there's a lot going on here and I have no idea how I'm going to do it, but I do it and regardless of how long it takes me, like it took me thirty years. Did you write a rutery More book?

You know? I just I keep at it and it comes when it's ready. That's what I admire about you. Mark. You have that focus, and I just think that's a wonderful thing.

You put out such good stuff and you know your shit. Thank you. I try. So that's where I'm at. Well, Leslie, Mark, thank you so much for your time this morning.

I really appreciate this, especially for getting up crack of dawn as far as I'm concerned on a Saturday horrible. So thank you so much for your sacrifice. Thank you so much. Thanks Mike, we appreciate it. Sh my good Especia