It was during that moment when my chest turns into an open space, an interminable length of time when it seems like a panel of chain-link fence gets peeled back, lies in wait for a surge of emotions to slip inside.
Then. Just as my mouth rearranged itself around the poem’s final words— “A wad/of cold sheets/on my bed”—it was then, when I no longer recognized my voice but rather the blink of silence following. That’s when I noticed him.
I’m sure I stood frozen in some exaggerated pose, arms akimbo or even more likely, right hand extended with a copy of Cottonmouth Kisses still perched in the air, armor to shield me from what would or wouldn’t happen next. Applause. The immediacy of approval every performer yearns for, even and especially those who claim they don’t.
Then came the clamor of acclamation, the sounds of hands clapping, of slurred hurrahs and a high-pitched whistle. My cue to step from the stage not really a stage in this home not exactly a “home” as I knew it, but a geodesic dome.
For a hot second, our eyes met. His: dark, with a sparkle that followed when I looked away. Not as in “tracers,” the stuff of flash-backs, symptoms from drugs with consonants for names.
More like: as I navigated my way to Pedro, Wash and Richard—the few people I knew at this hormone-charged salon with “Boys” as its motif—the text of my body was besieged with active verbs and question marks.
Would I dare to venture upstairs with him?
Despite its cred as the white-hot center of Where Art Lives, I recognized this dome from another context. Recently I’d seen The Hole, a skin flick in which the final scene culminates in a luscious free-for-all on the top floor.
I’d heard whispers of a similar scenario happening in medias res, and as much as I tried to listen to the performer who followed me, it was. I was. Hard. With that beautiful boy, little more than an arm’s reach away.
My imagination is active; though my physique at the time? Puffy, post-speed flab that rendered me uncomfortable in the flesh I inhabited.
And my skin? Remained clothed, not “ho”ed out, as I wish it would’ve been.
I didn’t even introduce myself to that spiky-haired little number, let alone coax him into my own take on the Triple-X.
Thin and long-limbed: same as the memory I have of him, stretched-out. Three? Four? Has it been five years since then?
All this time, and I still see his caramel-hued complexion screened in my mind. A story of me, a beautiful boy, and what might have been. Really not so much a story, as it is.
The description of an absence.
—Clint Catalyst
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[ Source ]
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William S. Burroughs Issue Four (summer/fall 2009)
Imago is distributed in Canada at Chapters and other fine booksellers.
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writers January, 2008:
In “Styled Child C or D for this Q & A…
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You Know I'm No Good DISCLAIMER!
✪ Please Note: ✪
At the time in which this interview was conducted, I didn’t exactly have an unbiased point-of-view.
Friends of mine had recently been laid off—a common occurrence in businesses when things like a “merger” occur… but wounds were still fresh, so to speak. If not theirs— well, then mine, out of camaraderie.
Rather than call attention to the negative, I hope you’ll be able to apply the aforementioned statement in any instances where it might be [AHEM!] applicable. As in: flagrantly.
Oh, &…it’s taken numerous attempts for my embarrassingly low-tech ass to get this archived Q & A to post within WP’s established parameters.
:: claws & any other applicable appendages hereby crossed —with— massive thanks to Josh Rotter Gay.com!
Filed Under:
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what is queer MAXIMIZE YOUR RETAIL BLISS, WITH THIS:
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More “Images Conducive Of Pleasure” Are Tucked
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Zoetica from Coilhouse with the aural fixations/visual manipulations of
P. Emerson Williams
the artwork of—and special appearance by— Joshua Petker
as well as portrayals by Dirk Mai
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pauley p ,
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spoken word ,
Veil of Thorns ,
visual artist Joshua Petker Truth of the matter is:don’t all get a hug for our efforts.
What we do ‘get,’ however, is Freedom Of Choice…not choose is—in itself—a decision).
A choice you’re hereby offered the opportunity?
Who gets an award (yourself, perhaps?), and
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But for those of you whom the terminally cute is a constant reminder that human beings do, indeed, have a “Gag Reflex”?
Go ahead and OWN THAT BITTER BILE DOWN TO THE BONE!
Pictured above, at Hollywood’s latest haunt of legendary proportions, Mr. Black
Aldo Vento
flaunts his Hater status in black-on-black-on-black…
:: CLICK HERE FOR YOUR OWN ‘BARK OF SNARK’ ::
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See you there?
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West Hollywood [ April 2001 : Archived ]
Props, Ever in OrderLambda Literary Foundation !
Read more
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the book Cottonmouth Kisses Short notice? Who, me?
(O.K., so maybe I’m not the best at feigning innocence…)
At any rate, this Friday evening, the 13th of November 2009
at 9:30 p.m.
My chum/ “co-star” Aldo Vento I
will be making a personal appearance at the screening of
“Delphinium: A Childhood Portrait of Derek Jarman”
at
The Olympia Film Festival
(Among “Delphinium”‘s roster of November Screenings
This one is paired in conjunction with a live performance by Steven Severin
of Siouxsie and the Banshees andThe Glove ,
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young directors What? Like, You Thought I’d Forgotten Or Something?
No such luck.
I’m just a tease.
Wait–SCRATCH! I’ve just been holding back to make this post “stand out from the pack.”
Yeah, that’s it…
Actually, since “L.A. Fashion Week” happened in various mutations this fall–What do we have now…three per season? Can’t. Keep. Up.–I thought it might be nice to take a look back at runway shots from the
Gold vs. Petker
event
on 07/30/09.
Except this time? I’ll do so with
Less gab; more GORGEOUNESS.
(How about that, then?)
From Miss Kitching
a resounding “Yes, please!”
So…that being said, here’s
actor Daniel Franzese
Burlesque bombshell Ava Garter
who set the stage for the show to kick off
(with a lethal stiletto, bless her heart! )
While
In the interim, “90210″ hottie Annalynne
had a show of her own goin’ on,
essentially
*Cue Smiley-Face Emoticon*
as she waited front-row for her sister
The latest of ‘The McC Girls’
as a media darling: Angel McCord
who conquered the catwalk like a pro…
O.K., some of you might recall my adulation over
Joshua Petker’s painting “Hunting for Witches” a while back?
(Be it yay or nay, here’s a reference for your ‘Quick & Easy’…)
Well, spot-check the detail of how it translated to fabric:
Mr. Gold’s stitch-witchery paired with Petker’s inimitable technique,
then ‘suited & booted’ by McCord’s searing Buffalo Stance?
Stellar. Zenith.
S U B L I M E!
:: Smoocheroonies to you, Angel! ♥ ::
And on the tip of ‘sublime,’
it’d be criminal of me to not include
one of the most adept catwalk-stalkers in Los Angeles,
(impeccably-manicured) hands’ down!
I’m talkin’ about
Amanda Fields
Of course, a Jared Gold show wouldn’t be complete
without the presence of
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YouTube.com ,
YouTuber ,
YouTubers Not an everyday experience for me, that’s for sure…
(So yeah, I’m kinda stoked about it — “You Got A Problem With That?” )
Don’t get me wrong:
I’m not delusional enough to think the hot little actress in the shot with me
Didn’t play an–ahem! –monumental role in terms of ‘placement.’
Though…
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:: which,
in grand detail
is… ::
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YouTubers First and foremost?
The Laramie Project: 10 Years Later The Laramie Project
Referred to on the theater’s site as an epilogue, the printed work Perrette (and co) performed on Sunday is the end result of five members of Tectonic — founder Moisés Kaufman, accompanied by Andy Paris, Leigh Fondakowski, Greg Pierotti and Stephen Belber — who sought out the same people they interviewed ten years ago for The Laramie Project and spoke with them again, along with new members of the community.
A portion of these accounts has been edited into a 10 minute clip posted on Tectonic Theater’s YouTube channel . (Link provided for those whom might be interested in subscribing…)
Otherwise, I’ve embedded it here:
In short, The Laramie Project: 10 Years Later posits regional questions, such as “Has Matthew’s murder had a lasting impact on [their] community?” and “How has the town changed as a result of this event?”
Moreover, the play addresses salient topics regarding the nation’s current social climate, through queries such as “What does life in Laramie tell us about life in America 10 years later?”
Now…
Insofar as my promise to post images from Sunday’s reading at Hollywood United Methodist Church , I encountered a bit of a roadblock on that venture—namely, several signs with the statement “There is no photography or recording (video or audio) allowed at this performance” that had been affixed throughout the structure, replete with a sentiment of “Thank you!”
In a different setting, for a different cause, and with a different cast–namely, one in which I don’t have such a formidable level of respect, let alone a personal relationship of any sort?
Truth be told, I probably would have considered it just another “Don’t So Delicious To Do.”
Nonetheless, in this case?
A group shot (courtesy of Richard Settle) will have to suffice, please.&.thanks:
Standing (L-R): Jim Parsons , James Cromwell , Helen Shaver , Pauley Perrette , Christian Clemenson
Seated (L-R): Michael Weatherly , Johnny Galecki , Barrett Foa , Lisa Edelstein , Zachary Quinto and Julie Benz .
A review of the performance awaits
:: ‘Beneath the Cut’ ::
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