Cass McCombs April 2026

When are you done being a fan? When have you had your fill of swooning over the new album, crying over the heartfelt new songs, singing the lyrics as if they mean something personal, requesting the vacation time from work, planning the roadtrip, lining up the series of tour dates you’re gonna catch?

I’m sitting at a table in the “supper club” of the Mystic. I’m rushing to the front of the floor after Hand Habits (solo) finishes at the Great American Music Hall. I’m taking up residence behind the first string of early birds at the Lodge Room. I’m deliberating over which balcony row to choose at the Troubadour. At each place I’m holding the line, I’m dancing, I’m hooting and hollering, I’m singing along and sometimes talking back to our auteur on stage. He has to know we like the music and his performance, so I am animated in my response even though afterwards I feel ashamed to have expressed my fanaticism so openly in front of the insiders who are friends with people in the band and who barely respond to the performance. These people don’t suffer the delusion of the songs being written for them: a reference to the invitation to view the Mission Santa Clara Manuscripts, Bubba being thrown away but coming back to me someday.

I meet up with other fans, my friends, see other rockers, share notes, express wishes for songs he’s going to do, recount Meg’s glass slide on the electric guitar (definitely in SF the first time), the french horn accompaniment on the encore in Petaluma, the violin addition at the two LA dates, count which number show this is. Twenty-eight, twenty-nine, thirty, thirty-one. “Would you count it as seeing Cass McCombs if you saw him in the Skiffle Players? What about if you saw him jam with Phil Lesh?” I plan my trips to the merch table — to buy a shirt, to buy the split 7”, to buy another shirt, to pass along a stack of zines I made at work, hoping CM gets one and maybe recognizes the name of the person that gave him an artist book 15 years ago. I am imprisoned by my fanaticism, frozen and separate from the reality of those who play with him, collaborate with him, call him a friend. This isn’t the reach of eros, this is the spasm of mortifying obsession. The October Santa Cruz poster with the guy collapsed amongst newspapers is not a reference to the magazines and newspapers librarian. It’s a coincidence.

I annotate the set-lists we grab off the stage — this is when Mike Bones’s string broke, so they played Missionary Bell with bass and acoustic rather than Home At Last with the full band. I meticulously record from the balcony to catch Cass’s hands on the keyboards — such a unique sight — if only I had yelled out, “We gotta get you on a grand piano!” (And I have a funny persistent feeling I’m watching AI hands do the gesture of playing keys due to the pixelation of the digital video under the blue stage lights). (Not to mention the fuckers yapping away during I Never Dream of Trains.)

The performer gives something visceral and spiritual to their audience, suspends us in an alternate existence where we can agree on the sense making of the songs, the lyrics, the synergy of everyone playing instruments on stage. This creation of a third realm protects us from all that caterwauls outside the doors of the venue and makes space for imagination — yes, nothing was as heavy as the missionary bells of Mission Santa Clara and the great responsibility of guiding those students and researchers through the artifactual evidence in the archives — of the mission manuscripts, of the provenance of the bells (gifts from the King of Spain), the proof of the abuse and love for the natives. And something about being seen in the lyrics of a junkie on Leavenworth and what he said… I saw that junkie in the library.

But now I’m heading north on the line back to my home and I spend an hour in the passenger seat looking up European tour dates, price out transatlantic flights, ponder taking two weeks unpaid from work — if it will even be approved. I’m the junkie jonsing for the next hit, yet I feel empty and full of pretense — I’ll never be his friend and no matter how inspiring the songs, they will never make me achieve the creative success I can’t shake craving. What part of my soul does it feed to worship at the base of an idol, when the idol doesn’t want to be a star or a hero or famous? He knows he needs his fans to do what he does, but he doesn’t want fandom.

a close up of a woman with a donut in her hand

September 2024: A meme was going around Bluesky: use the CLIP Interrogator—an applet running on huggingface.co—to reverse-generate the prompt to produce a partciular picture. Upload a photo, pick a setting (or acquiesce to the default), and generate a prompt. In its own words: “Want to figure out what a good prompt might be to create new images like an existing one? The CLIP Interrogator is here to get you answers!”

I uploaded this picture of myself, which I took in my cube at work, and that I was using as my avatar on a social media site. I grew fascinated with the idea that I could use the description of this image to create and image that wasn’t me but was linked to y effigy.

The game was fun insofar as the descriptions read and regurgitated words most likely to generate gender in an image; the punctuation of the blurb infested with comma splices, a combination of proper nouns, nationalities, regular nouns, some adjectives and adverbs.

What could this model actually mean when describing my picture as:

a close up of a woman with a donut in her hand, office cubicle background, made in 2019, loosely cropped, forehead jewelry, in australia, jordan, wearing a cute top, post - apokalyptic, brawny, wearing a haori, angela white, ebay product, mexican, uncropped

I was so smitten with this nonsensical description. Bubba was not amused upon receiving my giddy yet spacy explanation of what it was. “Did you use the text to generate an image?”

No. Not for several days as I slowly coped with the idea of needing to pick a platform to use my prompt to generate my image. Most likely there is an option on huggingface.co but I am too ignorant of its techical specifications to make anything of it.

I chose Craiyon to do my experiment because it didn’t require making an account first. I only went though the first five results in my Google search to be honest.

I fed it my prompt:

a close up of a woman with a donut in her hand, office cubicle background, made in 2019, loosely cropped, forehead jewelry, in australia, jordan, wearing a cute top, post - apokalyptic, brawny, wearing a haori, angela white, ebay product, mexican, uncropped

I watched as the processor counted down on the screen of my phone. The western addition and then USF and then the Richmond flew by outside the bus. I waited for my AI pictures to develop. Once they came up, an initial choice of 9, they were … hilarious. Enchanting even. Amusing to consider as an alter ego. Enlightening in that the CLIP Interrogator generated instructions that Craiyon seemed to interpret correctly.

She’s the pretty girl, not happy but flashing a donut like it’s a gang sign, with an angel of light anointing her mouth in a digital deformity that only brings her radiance.

CLIP Interrogator said the woman has a donut in her hand because if the cloud-shaped “D” on the bag in the background was a donut—which it thinks it is, based on the shape—the woman would have to be holding it close to her face to be in a close up. How does a human hold a donut? With her hand. No one really knows what the random countries signify, or the haori, or what is an ebay product—except one image from Craiyon shows the woman holding up tickets. In my real picture, there are ticket-like ephemera hanging in the background of my cubicle wall. The two LLMs each product is based on knows the words to interpret ticket-like ephemera.

One woman is brawny in that she is a tad menacing. But she lurks in the shadows. She holds her braided ponytail out with a hand and a fucked up thumb

My favorite woman with the most fucked up hands, the ugliest woman, the one with the big mole on her cheek, she looks away and past the camera but offers the donuts and tickets to the viewer

All the other images of generated women with donuts were too pretty. If this was to be in my effigy, it would have to be a little bit more ugly, something uneven, fingers spaced out and melding together, a white tshirt with an illustration of birds. Her earrings hang low, removed from her lobes. But her hair is so flat and sleek, parted straight down the middle and not one flyaway in sight.