Guy Hocquenghem, Gay Liberation after May ‘68, trans. Shuli Branson (Duke University Press, 2022).
The river at the mountain’s edge is within earshot of the dirt bikes’ score. Although the cooling water is replete with translucent chemicals, male brown trout are there. The dirt bike song is soundtrack for their aggressive eating and fucking. They pursue the anglers’ fly-ties, aglow with androgen as they autumn spawn.
See →.
Within their ancient Greek origins, the centaurs are mountain forest creatures.
Recalling that Guy Hocquenghem makes a beautiful entreaty for the queering of the motorcycle, it becomes clear that I have erased a 2014 screening of Race d’Ep! Un siècle d’images de l’homosexualité at Artists Space in New York. I see the back of a friend’s head next to my head in the online Q&A. I locate a clip and realize that the youth of some of the actors distresses me. It feels possible that this is my cut with the masculine, its media habit (on repeat) of undressing near adults.
I can pretend it is just another interpretation of Pauline Oliveros’s Sonic Meditations (1974).
Glen Bell, a Caucasian Southern Californian, was the founder of Taco Bell. Initially the proprietor of a flagging hot dog stand, he reverse engineered the taco recipe of a local and successful Mexican-owned cafe, La Mitla. His first logo, used from 1962 to 1972, included a Mexican man sleeping under a sombrero; the building was shaped like a miniature Catholic mission. At the time that Fuck Taco Bell emerged, there were over 3,500 Taco Bell franchises throughout the United States, including Albuquerque. By 2025, 8,757 franchises operated in twenty-two countries, excluding Mexico. All attempts to establish Taco Bell franchises in Mexico immediately fold.
Also known as Al-Mar al Mayyit, Thalassa Nekra, the Dead Sea.
Brahim El Guabli, Desert Imaginations: A History of Saharanism and Its Radical Consequences (University of California Press, 2025).
At the same time, the sports bar, the bachelor party, the frat party, the gang rape, the school shooting, the friendly fire, burning cult compound, successive massacres heap untouched by my own hand; but did anyone claim to participate for all women’s benefit, roughly including the likes of me? Maybe we are only capable of a subtractive, shamefully incremental withdrawal from the man. A child soundlessly mouths the words to the Pledge of Allegiance. A co-ed stops sucking off baby fascists in frat-boy bodies. A boomer boycotts the jam band. But picture this from the Guevara biography: an adolescent Che choosing, over and over again, to scrimmage as a “nonbeliever” against “the believers,” the refusal of our God the father, deploying a playful linguistic challenge that is closer to … masculine stratagems.
Farid Matuk, Moon Mirrored Indivisible (University of Chicago Press, 2025) →.
Guy Hocquenghem, The Screwball Asses, trans. Noura Wedell (Semiotext(e), 2009).
The Fat Mike banana variety went commercially extinct in 1965.
The purchase was finalized in 1993. “Personal artifacts include a book titled Personal Magnetism, whose pages the musician had cut out to hide a pistol.” In response, other sources state that Mingus was resisting a shakedown from New York crime syndicates.
I site this particular relic because I recall visiting the Chamber of Holy Relics at Topkapi Palace and the moment I was looking at it. The memory is not on mute. The aural surround of the relic: the soft murmuring of throngs of visitors, the muffled whoosh of clothing, a seated man reciting from the Koran.
Half-Mast Inhibition (1939) is a Mingus composition that operates inside and outside two genres simultaneously: classical and jazz. For someone like me, who grew up saturated in classic rock, disco, pop, and folk with a limited exposure to classical and jazz, there is something initially irritating about the rangy-ness, this neither-here-nor-there. My limited emotional response reminds me of conservative feelings about gender play; but reflecting on the deflection of ambiguity could unseat those habituated to solid states, in genre or gender.
Martin Williams, liner notes for Charlie Mingus, Pre-Bird, recorded May 24, 1960, Mercury SR60627.
At this point in their moto score, all animal game has taken flight or burrowed into the ground because to be here is to only exist as something suspended in noise. I can’t quite call this deep listening. In this state, I fear I am hysterically sexing sound.
I would define an “elitist’s slide-glaze” as a technique where a person with status, economic and/or cultural, artfully refuses to have their eyes focus and land on the person they do not wish to acknowledge.
