Sometimes now I turn on the radio and I don't recognize a single song on the charts. Right now I have no idea what any of the top 20 singles are. And I have the feeling that it's probably not worth finding out, because we're now in a phase where we're just filling in the spaces of what was introduced by rock and the Beatles and the Grateful Dead and so on. There's nothing very new, I don't think. Maybe I'm wrong. Q: How do you choose your clothes? A: Right now I'm in the phase of pretentiousness. During the late '60s I had a lot of fun by making mild departures in style -- wearing white suits instead of blue suits, things like that. That was very shocking and unusual in 1963. Suddenly things reached a point beyond which it really wasn't worth going, as far as I was concerned, when Jerry Rubin and Abbie Hoffman appeared on the _Dick Cavett Show_ in body paint. There's one direction in which clothes can go that still annoys the hell out of people, and that's pretentiousness. If you wear double-breasted waistcoats, which I rather like, that annoys people. Spats more than annoy people: they infuriate people. Try it sometime if you don't believe me. They think that this is an affront. It stirs up all sorts of resentment. We're in a period now in which the picture of the East Side really is of the man living in the $525,000 co-op, leaving the building at night, both clothed in turtleneck sweaters with pieces of barbed wire and jeans, going past a doorman who is dressed like an Austrian Army colonel from 1870. Q: Do you do a lot of drawing? A: I have a regular feature in _Harper's_. I do one large drawing each month, with a caption. Q: What's your artistic background? A: I never was trained in art. I worked for a commercial artist a number of summers when I was in high school. And I learned anatomy from drawing boxers in _Ring_ magazine. It was the only way I could think of to learn anatomy. I've had two gallery shows of drawings. ... And I'll have a book of drawings coming out next year. I find myself very vain about my drawing. I guess I don't feel as sure of myself as I do in writing; therefore I'm always straining to get people's reactions to what I've drawn. What I do mostly is caricature. I try not to make them too cartoony. This is a period that absolutely cries out for good caricature. Part of it is that the great caricaturists used to be people who were determined to be fine artists. Every artist, whether he was good or bad, learned anatomy very thoroughly. He learned how to render landscapes, buildings, and learned something about costume. So the ones who didn't make it as easel painters might turn to doing caricature, and some of them were spectacular.