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Homo-Mind
To the homo-mind, the basis of the trad-hetero universe is tawdry and small: at its core a crypto-Christian state-religion of romance-love-marriage-children, their blind faith in the reproductive cycle and the future (whether its heaven, “success” or fecundity), its a Grand-Guignol of kitsch Hollywood narratives embedded in Gnosticism, all confirming their self-satisfied superiority.
This model we reject.
From our point of view The Nature of Things is best described by Lucretius: our universe is ever changing, boundless with possibilities, but indifferent to us—- stunning, wondrous and terrifying, it is an endlessly creative and destructive theatre, with no single end, with no-mind or creator. The good life for us is the Epicurian, and so we choose our pleasures and friends carefully, based on our unique proclivities, for our brief lusty trip in this world. We accept this way is only seen by the few, ready minds, but that’s part of the adventure.
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Yup, stick a skateboard in their hands and everybody gets all bottomy.
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“DC’s: I was happy to have made him happy
“Love is blind, they say; sex is impervious to reason and mocks the power of all philosophers. But, in fact, a person’s sexual choice is the result and sum of their fundamental convictions. Tell me what a person finds sexually attractive and I will tell you their entire philosophy of life. Show me the person they sleep with and I will tell you their valuation of themselves. No matter what corruption they’re taught about the virtue of selflessness, sex is the most profoundly selfish of all acts, an act which they cannot perform for any motive but their own enjoyment - just try to think of performing it in a spirit of selfless charity! - an act which is not possible in self-abasement, only in self-exultation, only on the confidence of being desired and being worthy of desire. It is an act that forces them to stand naked in spirit, as well as in body, and accept their real ego as their standard of value. They will always be attracted to the person who reflects their deepest vision of themselves, the person whose surrender permits them to experience - or to fake - a sense of self-esteem .. Love is our response to our highest values - and can be nothing else.” ― Ayn Rand”
Homo: Dennis Cooper, we love you!
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“The Big-Ass Amazingly Awesome Homosexual Sheep project known as BAAAHS will be part mutant vehicle, part penetrable sculpture, part socio-political statement, and part gay disco.
From head to tail the art car will be 40-feet long and two levels. He will be a cuddly sheep on the outside with a chill den on the inside. The only entrance will be through his rear end.
His party side (the port or driver side) will contain a large sound system and a DJ platform, hidden by his fluffy exterior. His business side (the starboard or passenger side) houses generators, ventilation, passage between levels, and the exit. From all directions, he looks like a big adorable huggable sheep roaming the pastures of the Playa.”
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Necessary Errors by Caleb Crain
“Crain (American Sympathy) continues his ascendant career with this fully realized debut novel, which delights and surprises with every paragraph. The setting is 1990 Prague, a year after Czechoslovakia’s Velvet Revolution, in the aftermath of the fall of the Berlin Wall… . The plot is compelling, but Crain’s talent for nuance and dialog, particularly in the gay bar scenes, is an observational wonder… . This novel is a pleasure to navigate with its large, likable cast.”
—Travis Fristoe, Library Journal
“Crain reinvents the novel of the innocent in his well-wrought debut.”
“Caleb Crain has written a novel of surpassing intelligence and unexpected beauty about a young American’s year in post-Communist Prague—and about how we find, and construct, the story of our lives. His great achievement is to make the unfolding of Jacob Putnam’s newfound sexual freedom resonate with the unfolding of Czechs’ new historical freedoms, so these separate arcs seem of a piece. His precision of description, whether of architecture or emotional weather, is enviable; his dialogue both playful and profound. It is rare to read a book of this length and feel that every sentence mattered, rarer still to finish a novel of such intellectual depth and be so moved.”
—Amy Waldman, author of The Submission”
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Test
“Set in the early days of the AIDS epidemic in San Francisco, this film is poignant, character-driven, and illuminated with stunning modern dance. Frankie is a perpetual understudy in a modern dance company, and his relationship to dance and music informs our own understanding of the fear and uncertainty that was being gay in 1985. Headlines ask if there should be a gay quarantine. Dancers won’t touch each other—because what if you can get the virus through sweat?Test perfectly captures the historical context of a time that’s hard to contextualize even just 25 years later—condoms were a relatively unknown novelty, and homophobia was rampant. Writer-director Chris Mason Johnson manages to highlight elements of fear and uncertainty to us in a way that maintains the truth of the time, but also is understandable to a modern audience, particularly through the dancing of his main characters.
Director Biography
After gaining acclaim as a dancer for such companies as the Frankfurt Ballet, Chris Mason Johnson learned filmmaking while studying at Amherst College. Upon working a variety of film jobs for the likes of Miramax and Fine Line Features, he made his feature directorial debut with 2008’s The New Twenty.”
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