Long Shot made its debut
in early 1982, but the idea and planning of the first issue took place in 1980.
Cofounders Eliot Katz and Danny Shot were just out of college (
A short-lived but impressive literary journal out of
Long Shot #1 features poetry by Susie Timmons, Alicia Ostriker, Richard Hell, Eileen Myles, Kevin Hayes, James Ruggia, Allen Ginsberg, as well as Long Shot regulars Andy Clausen, Katz, Shot, and Robert Press. The famous Long Shot horses made their debut with this first volume. Dan Shot and Joanne Lanciotti cut horses out of a Sports Illustrated article on horse racing and pasted them down on the title page. Over the next twelve years as they were reproduced repeatedly, these horses morphed into creatures more resembling dachshunds and dalmatians than racehorses. The oddest thing about Long Shot #1 is its cover. It was supposed to be a photo of a guy standing in front of a wall that was spray painted with graffiti "REAL TACKY." For some reason, Eliot panicked as he approached the printing process and got the photographer's permission to paste a picture of a ballerina sideways over the word "TACKY"--in the process cutting off most of the ballerina's legs and forgetting to ask Shot his opinion re this experimental collage. Danny still cannot comprehend what thought process went through Eliot's brain at the time.
Volume #2 came out a year later. After Volume #1 sold out of its initial run of 500 copies, Shot and Katz found themselves broke and trying to raise production expenses by selling ads to New Brunswick businesses including long time Long Shot patrons, The Court Tavern and Melody Bar. Long Shot 2 was put together in much the same way as #1. Vol. #2 featured original poetry by Amiri and Amina Baraka, Jim Carrol, Ray Bremser, Antler, Jeff Poniewaz, Janet Cannon, photos by Deborah Troeller, an interview with William Burroughs, more work by Katz, Shot, Clausen and Press, as well as the Long Shot debut of future editor Jack Wiler.
Long Shot #3 came out in 1984 with the financial help of friends and neighbors. Joanne Lanciotti, who had helped create Long Shot officially took on the title of Art Editor. Long Shot #3 features 7 drawings by Brandi Merolla, an artist who was a regular contributor to the early issues of Long Shot. Vol. 3 also featured unpublished poems by Allen Ginsberg, Gregory Corso, Tom Waits and up-to-then unpublished poems by Jack Kerouac. Long Shot #3 also marks theLong Shot debut of Charles Bukowski. Volume 3 opens up with 5 poems by Bukowski. The back cover is a reproduction of a letter from Buk that reads:
Hello Eliot Katz; Dan Shot;
Glad I got some poems by you. Take your time.
Ending 2nd bottle of wine, radio blasting Eric Coates -
All's Well. Everytime I get Drunk and figure I'm not in the tank, then,
That's a good night.
We invited Tom Waits to contribute to Long Shot by writing a letter to his record company, the address taken from the back of an album. Miracle of miracles, Waits generously responded. 1984 also saw the publication of Long Shot's first book, Andy Clausen's The Iron Curtain of Love, printed on a 20-year-old Multilith printing press in a Piscataway porch that was the home of
It was two years before Long Shot #4 appeared in 1986. Progress was slowed by Shot's insistence on having a personal life, marrying artist Caroline Doncourt in 1985. Eliot Katz and Robert Press served as co-best-men. Shot also began working as a highschool teacher in
Shot edited Volume 5 by himself. Volume 5 featured the ill conceived double front cover (one rightside up, the other upside down). Why ill conceived? Because way back in 1987, bookstores would rip the covers off unsold magazines and books and return them to the distributors for credit. Needless to say, the temptation to return 2 covers for each magazine was too strong to resist for many bookstores. What saved Volume 5 and Long Shot from an early demise was the poetry of actor Sean Penn. Shot had read an article in The N.Y. Daily News poking fun at Sean Penn's attempts at writing poetry. Shot looked at the poems in the paper and liked what he saw. Through an actress friend, Shot found Sean Penn's address and wrote to him. Penn responded warmly and favorably, sending a batch of poems. Of course, lawyers got involved, contracts were signed, agreements made, but subsequently Long Shot Vol. 5 begins with 7 poems by Sean Penn. #5 also features work by Bukowski, Diane Wakoski, Eileen Myles, and Cookie Mueller.
Volume 6 brought much needed editorial assistance from Caren Lee Michaelson who joined the staff of one. Volume 6 features the now regrettable back cover photo of Shot sitting naked in a tree after being caught skinny dipping in the
Volume 7 contains Shot's favorite Long Shot cover, predictably a cover designed by him. The cover consists of black and white photobooth pictures pasted together to form a grid. If you look, you'll see Lamont Steptoe, Antler, Eileen Myles, Mary Shanley, Jack Wiler, Caren Lee Michaelson, Jeff Poniewaz, Robert Press, Lorri Jackson, Linda Harper, and Shot giving the finger to the world right there on the front cover. This same idea (photobooth photos placed together to form a grid) appeared on various album covers, and magazine spreads during the next year, but I swear, we did it first. Volume 7 features even more Bukowski, Anne Waldman and Eileen Myles.
Volume 8, published early in 1989 is the first Volume to bear our
Volume 9 brought Jack Wiler into the fold as an editor. This 1990 issue featured a poetic tribute to Abbie Hoffman who had recently died as well as an interview with him by two
Volume 10/11 was a double issue featuring once again the ill-conceived reversible front covers: As we've always said in my family, you can't fool a Shot more than twice. Volume 10 edited by Shot and Mary Shanley, with assistance and an introduction by Jim Fouratt, focused on the theme of AIDS in America. It featured a cover photograph of a man carrying a sign that reads "MEN Use Condoms Or Beat It!" Included in this section is work by Lou Reed, Roy LaRose, Phil Zwickler, Tim Dlugos, David West, Kevin Hayes and others. (Looking back, I'm saddened by the number of contributors who are no longer with us.) The idea for this issue came to Shot as he sat at a memorial service for Cookie Mueller, a writer Shot had deeply admired. Profits from this issue were donated to ACT-UP, a militant activist organization, which was doing the important work of alerting the political establishment as well as the citizenry to the dangers of apathy in the face of the AIDS crisis.
Volume 11 includes work by Quincy Troupe, Paul Beatty, Alicia Ostriker, Alice Notley, Jack Hirschman, Vampyre Mike Kassel, and mourns the passing of Lorri Jackson who died of a drug overdose at age 29. On a positive note, Vol. 11 marks the L.S. debut of a longtime hero of N.J. poetics, Herschel Silverman.
Volume 12 (1991) brought more editorial changes. New editors Jessica Chosid and Tom Pulhamus joined the force. Jack Wiler became Editor-in-Chief. This volume featured outstanding artwork by the likes of Leon Golub, Judy Siegel, Ron English, Artfux as well as one of our most controversial covers featuring a photo of a 1950's bathing beauty in a watermelon patch, holding two juicy watermelons in front of her breasts. Writers featured in this issue include Bukowski, Ginsberg, Lawrence Ferlinghetti, Miguel Algarin, Nancy Mercado, Eve Packer and Denise Duhamel. A number of poems in this issue were written in response to the Gulf War (remember that?).
Volume #13 features art by Leon Golub, Nancy Spero, Komar and Melamid, Yael Bloom, Kathe Burkhart, Lynne Breitfeller and a photo essay entitled "Wildgirl's Go-Go-Rama." Strong (and sometimes controversial) artwork was becoming a trademark by this time. Writers contributing to this issue included Bukowski, Baraka, Paul Beatty, Eileen Myles, Peter Orlovsky, The Cars' Ric Ocasek, Gillian McCain, and The Disposable Heroes of Hiphoprisy (featuring Michael Franti). At this time (1991) Jack Wiler came up with the slogan we still use today: Writing for the Real World! Note: today you'll see this phrase applied to any number of things, ie, "Banking for the Real World!!!" But take it from me: We invented the slogan. Under the leadership of Wiler, Long Shot printed t-shirts carrying the "Writing for the Real World" motto along with a handsome illustration by Jessica Chosid.
Long Shot #14 brought a new editor into the fold, if just for one issue. Erik LaPrade had put together an issue of poems for the magazine Poetry
Long Shot Vol.15 saw the addition of a new editor, Nancy Mercado, who supplied us with a needed shot of energy as well as the keys to a poetry world we had mostly been observers to, but not real participants in--The Nuyorican Poets Cafe. Under the influence of Mercado, Long Shot 15 featured work by Miguel Algarin, Piri Thomas, Pedro Pietri, Sandra Maria Esteves, Bob Holman, David Henderson, Tracie Morris, reg E. gaines, Tony Medina, Ras Baraka, Edwin Torres and Latin Empire. Long Shot 15 also featured written work by Bukowski, Kathy Price, Gerry Gomez Pearlberg, Jack Micheline, Tsaurah Litsky and Rebecca Fransway. Artists included Larry Rivers, Robert DeNiro (the actor's father), June Leaf, Lynne Breitfeller, Cindy Sherman, an amazing series of photos by Allen Ginsberg complete with captions, and a what-would-become a classic shot of Jack Micheline standing arms folded like the king of the world in his moment of glory in front of Charles Mingus playing that huge stand up bass. The front cover (and an inside spread) was given over to Larry Clark photos of kids on skateboards.
Long Shot 16 featured new poetry by Gregory Corso, Ted Joans, Quincy Troupe, Alicia Ostriker, Victor Hernandez Cruz, Katherine Arnoldi, Sonic Youth's Lee Ranaldo, Hal Sirowitz, Ernie Hilbert, Saint Teresa Stone, Rafael Alvarado,and Scott Wannberg. What distinguished this issue was a section devoted to jazz entitled Brilliant Corners, edited by Zoe Anglesey for Long Shot. Included in this section are poems by Paul Beatty, Lamont Steptoe, John Farris, Herschel Silverman, Hettie Jones, David Henderson, Steve Cannon, Jack Micheline, Yuko Otomo, Pedro Pietri, Al Aronowitz, Steve Dalachinsky, Quincy Troupe and Archie Shepp. Also featured were drawings made by John Coltrane for musicians working with him that make sense to people who understand Music. Volume 16 mourned the passing of Charles Bukowski, a writer who was an inspiration and a building block to many issues of Long Shot. A drawing by Bukowski at the back of the issue was the last work of his that would appear in the pages of Long Shot. His loss is still felt.
1995 proved a watershed year for Long Shot. Jack Wiler resigned his post for a bunch of reasons but before he left Wiler brought aboard a new editor, recent
Volume 18, brought new changes to the overall look of Long Shot, in large part due to Lynne Breitfeller's sense of design. The hobo lettering of the Long Shot title was retired and the title page horses were put out to pasture. Long Shot #18 (1996) featured poetry by Willie Perdomo, Sonia Sanchez, Ishmael Reed, Miguel Algarin, Reg E. Gaines, Bobby Miller, Rebecca Fransway, Scott Holstad, and Nicole Panter. Volume #18 featured outstanding fiction by Maggie Estep, Paul Drexel, Fritz Hamilton, Carol Lazare and Ina Roy. Artistically speaking this issue featured artwork by Diego Rios, Eric Drooker, Elizabeth Murray, and yes the one and only Yoko Ono. Most striking of all however is the photography of Shelby Lee Adams.
It was back to a theme issue for 1997's POLITICS (Volume 19) issue. Eliot Katz returned to the scene of the crime to serve as Guest Editor. Long Shot always had a political bent to it. Shot always admired and consciously tried to emulate Lena Wertmuller's successful blend of sex and politics. This issue of Long Shot was devoted entirely to politics. Along with poetry and artwork, Long Shot tried something new: articles. Actually, the first two issues of Long Shot contained one article each: important pieces on nuclear testing in the Pacific islands and practical information about water pollution. But in this issue, for the first time, articles play a prominent role. Alongside the lit you'll find essays by Francis Fox Piven, Stephen Bronner, and Clarence Lusane; a speech by Winona LaDuke; an interview with Noam Chomsky; and a powerful introduction by Eliot Katz. Poets featured in this issue include: Jack Hirschman, Amiri Baraka, Pedro Pietri, Adrienne Rich. Tuli Kupferberg, Jayne Cortez, Sparrow, Allen Ginsberg, Luis J. Rodriguez, and Nellie Wong. Artists include Amiri Baraka (drawings), Ida Applebroog, Hannah Wilke, Komar and Melamid, Eric Drooker and Tuli Kupferberg (a framed original of Republican Witches Brew hangs in Shot's office). This issue features the most visually stunning of Long Shot's covers: an illustration by renowned artist Sue Coe entitled The West Meets the Rest which pictures a muscular dog wearing a top hat voraciously gnawing on a leg of something as other dogs square off across a divide ready for conflict, a flicker of envy in their eyes. Solid high contrast black and white graphic design reminiscent of New Masses (1930's) covers highlight this cover. Under the leadership of Katz, the editorial staff collectively and painstakingly assembled this important issue of Long Shot. Shot and Katz had great expectations for this issue. Unsurprisingly, a number of the reviews have been negative in tone, whining about the incompatibility of art and politics.
1997 also saw the publication of L.S.'s 2nd book, Jack Wiler's aptly titled I Have No Clue. Alicia Ostriker says the following about Wiler's verse: "When I read the inimitable Jack Wiler, I can't tell if I'm laughing or crying, or being punched in the teeth by the Zeitgeist. Here is true grit, true rage, true fear and lust, true language. If you hate your job, read this book. Read it anyway. . ."
Long Shot Vol. 20 sadly and fondly offers tribute to poet Allen Ginsberg who had passed away months before. Poets paying tribute include Katz, Silverman, Shot, gaines, Quincy Troupe, Papoleto Melendez, and Lawrence Ferlinghetti. Also featured in this issue are Ray Bremser, Sandra Maria Esteves and an interview with Exene Cervenkova. Artists represented include Duane Michals, Patt Blue, Charles Henri Ford, Ira Cohen and Gerald Slota.
Long Shot Vol. 21 (Nov.98) features original poetry by Wanda Coleman, Allen Ginsberg, a tribute to Jack Micheline (deceased 2/98), Ira Cohen, and a stunning cover featuring H.R. Giger's Bullet Baby. At this point in time the editorial staff consists of Shot, Mercado, Breitfeller, Andy Clausen, Ernie Hilbert and David Stack. 1998 also saw the inception of the official Long Shot website firstname.lastname@example.org created and maintained by technowiz David Vanadia and Lynne Breitfeller.
1998 was a busy year for Long Shot with the publication of 2 issues of Long Shot as well as 2 books of poetry. The first book of poetry published in February was the original buckwheat by reg E. gaines. Gaines is known for his appearances on MTV Unplugged and as the writer of the Broadway musical Bring In Da Noise, Bring In Da Funk, as well as being a former Nuyorican Grand Slam Champion. Tony Medina's book (September 1998) Sermons From the Smell of a Carcass Condemned to Begging offers the reader urgent poems written from the perspective of a homeless man by the name of Broke.
It must be emphasized that throughout the years Long Shot has existed without the benefit of grants, choosing to succeed the old fashioned way; by selling enough magazines to go on to the next issue. Plus the generosity of various rock and roll bands, singers, musicians, poets, and friends who have donated time and effort in playing at benefits and fundraisers for a worthy cause. The cause being a truly independent arts and literary magazine that remains unhampered by the need to appeal to either a government funded or corporate overseer. Long Shot remains "Writing for the real World."
1999 has been a good year for Long Shot.
In March, we partied into the morning at the Limelight in
September 1999 sees the publication of Long Shot 22 which in a way is a return to our roots of presenting raw, graphic, exhuberant, poetry devoid of pretense (within reason). This issue features a frontcover and artwork by J.K. Potter and, a backcover by Sandy Skoglund. While the two artists' visions are quite unique, there is something about the juxtaposition of images on the front and back covers that makes their respective works go well together. Writers featured in this issue include Sherman Alexie, Diane diPrima, Quincy Troupe, Alicia Ostriker, U Sam Oer, Janine Pommy Vega, Penny Arcade, Bob Holman, Edwin Torres, Ray Bremser, and Tuli Kupferberg. Andy Clausen edited a section featuring young, talented poets whom he believes deserve attention. This feature will be a regular part of Long Shot from here on.
The new millennium saw the publication of Cheryl Boyce Taylor's book; Night When Moon Follows. This 96 page volume of poetry got off to a rousing start at St. Mark's Poetry Project. Cheryl was joined by poets reg E. gaines, Tony Medina, Jack Wiler and Dan Shot in a kickoff literary event that welcomed her into the Long Shot canon. Volume 23 arrived in the early summer and featured work by Janine Pommy Vega, Nicholasa Mohr, reg E. gaines, Willie Perdomo, Kimiko Hahn, and Eileen Myles. This issue was highlighted by a section in which established poets introduced younger poets to Long Shot readers. Among the participating poets were Keith Roach/felice bell, Jack Hirschman/Ashley Chambers, Alicia Ostriker/Daisy Fried, Anne Waldman/Lisa Jarnot, Eileen Myles/Kathe Izzo, Steve Cannon/Patrick Kosiewicz, Pedro Pietri/Roderigo Ortiz III, Bob Holman/John Rodriguez/Laurel Barclay. This issue also included fantastic (literally and figuratively) art by Joe Coleman and David Hochbaum.
The year 2000 also saw Nancy Mercado take on the responsibility of Editor-in-Chief. Volume 23 was the first issue of Long Shot with
Obviously, the year 2001 proved to be a
year unlike any we lived through. The September 11th terror attacks stopped us
in our tracks and it wasn't until 2002 that things began to regain a sense of
normalcy. February 2002 saw us christen Bob Holman's not quite ready for prime
time Bowery Poetry Club. We huddled together in the candle lit raw space to
celebrate the life and work of Gregory Corso. While
the temperature inside was frigid (and windy), the climate was warm and
inebriated as m.c. Andy
Clausen kept the show rolling. As I remarked on the occasion, the Bowery Poetry
Club would never ever feel the same and indeed it hasn't. It has metamorphosized into a luxurious poetry club that is as
comfortable as it is inviting. If you're out on the town, pay them a visit at
308 Bowery (between Bleecker and Houston), NYC or
visit the web site www.bowerypoetry.com
April 2002 also saw the publication of LIFT-OFF: New and Selected Poems of Herschel Silverman 1961-2001. As the title suggests, this collection offers a career retrospective of a uniquely talented poet's work. We published this book as a joint venture with Water Row Books, but the collaboration has a larger scope than that. In April 2001, a group of Mr. Silverman's fans agreed to purchase the book in advance, sort of like when you were in grade school and bought Scholastic Books and paid in advance. It was with this money that we built momentum for this must read book of poetry.
As way of update, I give you an abridged version of the Editor's Notes appearing in the back of Long Shot 25 which made its formal public debut on May 13, 2002 at the Bowery Poetry Club. We have a number of events planned to commemorate our 20th birthday. Please visit our events page to keep abreast.
This issue marks our 20th year in operation. We originally were going to make a big deal out of it, but after the September 11th terror attacks it didnít seem all that important. Nevertheless, we have put together a terrific issue for your viewing and reading pleasure. Youíll find the first 60 or so pages devoted to poetsí responses to the events of September 11th. Initially, we werenít sure how to proceed concerning events that so many people (including us) felt strongly about. My two sons and I watched in disbelief from our vantage point at
Youíll discover in our on 9/11 section fresh vital voices responding to the tragic events of September 11th and its aftermath. What you wonít find is the usual stale assortment of professional handwringers, obfuscators, and village explainers (favored by corporate endowed foundations, arts organizations, and university writing programs) who serve as our national conscience. Thereís a lot of good poems about the events of September 11th and its aftermath out there. And a lot of bad ones. Hopefully, we chose wisely. I hope you find our opening section engaging, heartfelt, and thought provoking.
Of course two thirds of this issue is a regular rolliking ole Long Shot rife with sex, sin, politics, pain, alienation, open wounds, the scream of the marginalized soul, and ecstatic embrace of all that is living. I tend to view each volume of Long Shot hollistically; by that I mean I view each issue as a whole organic entity, with each piece of art and writing complimenting the others, sort of like organic chemistry. I guess. Thereís a hell of a lot to chew on in this volume, so Iíll let you discover
your personal favorites on your own. As always, I am particularly proud of the artwork contained herein. Many thank yous go to the Ronald Feldman Fine Arts Gallery in NYC for helping us out once again. At the risk of sounding self indulgent, Iíd like to tell you about a project Iíve been working on which appears in these pages. Itís called Cafeteria and itís a graphic novel that has been created in collaboration with artist Cliff Tisdell. He draws the pictures, I write the words, mostly. We have big plans for Cafeteria, but I figured what better place to debut our creation than in the pages of Long Shot. We offer you the first four of many panels as a way of introduction.
Let me tell you about our staff. As always we are in a state of flux. Nancy Mercado is studying at SUNY Binghampton working on her PhD. But thanks to the magic of electronics,
Looking back at our accomplishments over the past twenty years, I am simultaneously filled with pride and humility. I am proud that a rag-tag group of poets with no real source of capital has managed to produce a magazine that gives a forum to voices who were previously marginalized. Recently, I read a review that referred to us as venerable Long Shot, and I had to laugh because I thought back to our punk rock roots (and our rather dubious means of raising cash for our earliest self-printed volumes) and I knew that our Long Shot bet had come in. I am humbled to have worked with so many great people over the years, notably Eliot Katz (co-founder), Robert Press, Joanne Lanciotti, Caren Lee Michaelson, Jack Wiler, Jessica Chosid, Tom Pulhamus, Ernie Hilbert, David Stack, Mike Cote, and of course our current staff of editors. I look forward to creating memorable issues of Long Shot for years to come. See you in Volume 26. Enjoy!
Ė Danny Shot, Editor
Editor's Notes: After 20 plus years at the helm, I am leaving Long Shot. Itís been a good run, but now itís time to move on. I leave with feelings of relief (Thank God, I can finally get on with my life and attend to other projects), regret (itís hard to quit on a good thing), and honor (for having had the opportunity to work with so many talented and wonderful people). Besides, rejecting the poetic outpourings of half the English speaking world has surely taken its karmic toll upon my being. Long Shot was originally a young manís dream (2 young men actually), and alas, I am a middle aged man. And that is good. Perhaps fresher and younger dreamers will forge a new path to build a haven for the marginalized, underappreciated, and left out; as well as provide a space (literally) where different writers from diverse backgrounds and interests can comfortably hang out together. This has been Long Shotís mission, and I believe we succeeded admirably. Hopefully, a new generation of editors will be able to pursue our mission without compromising their integrity; in other words, without selling out. I leave with bittersweet memories, but also a deep sense of honor for having had the privilege of working with so many outstanding people. First the Long Shot stalwarts: Eliot Katz, Robert Press, Andy Clausen, Nancy Mercado, Mike Cote, Lynne Breitfeller, Greg Wieting, Magdalena Alagna, Jack Wiler, Caren Lee Michaelson, Alicia Ostriker, Ernie Hilbert, reg E. gaines, Tony Medina, Amiri Baraka, Pedro Pietri, Miguel Algarin, Tsaurah Litzky, Erik LaPrade, Eve Packer, Herschel Silverman, Steve Dalachinsky, Paul Beatty, Janine Pommy Vega, Edwin Torres, Hal Sirowitz, Lamont Steptoe, Jack Hirschman, Bruce Isaacson, Brandi Merolla, Pili & Javier, Bob Holman and many more who helped make our small independent magazine a player in the American poetry scene. And those whoíve left us behind: Allen Ginsberg, Charles Bukowski, Gregory Corso, Jack Micheline, Ray Bremser, June Jordan, Cookie Mueller, Lorri Jackson, Charles Henri Ford. THANK YOU for gracing our pages. Now that Iíve sucked the air out of the room, let me tell you the good news: This is an outstanding, if slighty quirky and somewhat uneven issue of Long Shot. Youíll find unpublished work by the late great William Burroughs as well as an informative essay by Vojo Sindolic about Willie Bís time in
This is it, the last issue of Long Shot. And what better way to go out than with a Beat Bush issue? Our Guest Editor, Eliot Katz has worked tirelessly in assembling this issue and it was wonderful working with him again. Thank You Eliot. For me, this is an extremely satisfying way for Long Shot to bow out. We received many outstanding submissions for this particular issue; it was a pity we couldnít include more. But at 224 pages, Volume 27 weighs in heavy enough as it is. Thank you for your generosity of work, time, and spirit to all our contributors who appear within these pages and within our consciousness. We mourn the loss of Enid Dame who passed away this winter. Pedro Pietri, a friend and inspiration, left us in March. Youíre with us in spirit, amigo.
Admittedly, Iíve been in a state of denial these past 3-1/2 years about George W. Bush even getting to be President. After all, itís not like he won the election. It was hard for me to get over the sense of abandonment and disillusionment that people werenít more outraged over the hijacking of the 2000 Presidential election by the Supreme Court. Then the terrorist attacks of September 11th happened and everything changed. In the immediate aftermath of 9/11, we pulled together as a nation, as well we should have. But our new found sense of purpose began to unravel rather quickly as our Prezís attention deficit syndrome led us into a war with Iraq before we had completed the mission of diffusing the real terror threat posed by Al Qaeda.
Now itís 2004 and we need a new 44th President (Bushism intended) of the
Clearly, itís past time for a change, and maybe just maybe W. can be replaced. It is not a foregone conclusion (I think) that the 2004 Presidential election is in the bag, so please exercise your right to vote. There are a number of ways we can make our voices heard, but it all starts with pulling a lever, pushing a button, marking an X, or punching a chad (l.o.l.) in November. Can Bush be beaten? Hopefully. Maybe this time we can make a difference. Enjoy!
Long Shot Magazine