Allen reads from Cosmopolitan Greetings, despite the indifference of little Sebastian, in Jonas Mekas‘ studio/loft/home. Allen takes over the camera and, with curious and roving eye, surveys the work-space of Jonas, impresario of the Anthology Film Archives, “pack rat of the avant-garde”.
Approximately fifteen-and-a-half minutes in, Jonas recollects – “Allen got so interested, so gaga, about my video camera – (he said) “Could you get one for me? – I’m going to Israel next week, (actually in three days, he said), could you get one for me, so I could take some footage on my trip?” – so I said, “Sure, We’ll try”, so I called my Sony friend [Kiki Miyaka]. I said, “Could I.. could you arrange one for Allen Ginsberg.. he’s going.. you know, he could use one camera also, (he) could bring you some footage”. So (s)he, said, “Well, sure, yes, why not?, you know. So I got the camera from Sony, another Sony,for Allen, and he went to Israel and a month or so later, he’s back and I meet him on some occasion, and so I ask him, you know, “What happened ?..you got some interesting footage, I hope, on your trip?”. He said. “No, the first day I arrived in Israel it was stolen, my karma, my camera ,was stolen!” – there went Allen’s footage and there went the camera! – and that was that – the story of Allen’s video. I don’t think he ever got a video camera after that [his and Steven Taylor‘s footage of the hand-held little Sony is, of course, the basis for the remarkable “Household Affairs” movie] – but he did, of course, everybody knows, he was very very obsessed with still..taking still pictures of.. and they’re very very unique, there’s lots of pictures of his friends..and they are quite, I mean, it’s..I don’t have to tell you that they are quite..it’s quite an amazing record of Allen’s friends.