Oh! Very good, this is how you kiss? Oh, could I see that again?

Among the first of the Frederick's crowd who paid heed was another beatnik aspirant named Moogy Klingman, who wanted to be Bob Dylan and understood weirdness to be an asset. He saw raw nobility - -or was it fine freak madness? - in this popeyed poet with the wild book pages. "His Kerouac fanticism was Andy's calling card to the beatnik scene in Great Neck - that and "The Hollering Mangoo", Klingman would recall. "He was kind of an aloof nerdy guy, but people came to be really taken with him because he was so strange. He would pull out these pages, but I don't think he seriously meant for anyone to actually read them . He just meant to impress us that he was weird." ........Moogy instructed him in rebel ways - on how to defy parents - ("He'd say, 'I've got to be home by six' and I'd tell him, 'Andy, today you're going to sit and hang out and you're not going home till midnight!' But he'd just say, 'I can't" and he jumped on his bike and rode home.") On how to develop proper scornful attitudes ("He never said anything bad about anybody, never even taliked about anybody, was always being very nice and polite, never jealous or competitive. He was just in his own world")
And, most crucially, on how to make it with girls. They spoke of sex frequently, as in "what- will-it- be like?" And as in " I will have sex all the time once I ever actually have sex" Finally, it was Moogy who first lured a female into the arena, somewhat, which Andy thought was fine. "I got this girlfriend, a kind of foxy hippie girl named Liz, and we would show Andy how to kiss by kissing in front of him. Tongue kisses, a little petting. He would watch closely and study. I would feel her up and he would stand there taking notes in his mind and say with extreme politesness, "Oh! Very good, this is how you kiss? Oh, could I see that again? Oh, that's very interesting."

Bill Zehme, Lost in the Funhouse, 1999