Yellow text perks up the carnage: UNION
JACK-OFF on u.s.
Judith Bernstein: Mary Boone Gallery
The Federal Circuit, in In re Boulevard Entertainment, Inc., recently upheld the denial of registration for the marks 1-800-JACK-OFF and
JACK-OFF in connection with a phone sex line.
Sex exceptionalism in intellectual property
That Gay Show airs features on fun gay spots at cities around the world, explores
jack-off clubs in America, and commissions quickie South Park-style animated shorts on topics such as attempts throughout history to "cure" homosexuality.
Beyond QAF: from news to sitcoms, out gays & lesbians are making their mark all over British TV
To judge him, as Penman does, as a "
jack-off of all trades and master of none" may be unnecessarily cruel, and overlook those occasions when Zappa could be truly innovative, but this piece acts as a useful antidote to some of the ponderous academic treatises written about his work.
A Penman mightier than the sword; Vital Signs. By Ian Penman (Serpents Tail, pounds 10.99). Reviewed by S imon Evans
But now there's a lot of
jack-off thinkers who just love to talk about the spiritual.
George Carlin
Judith Bernstein's Union
Jack-Off on Vietnam Policy, 1967, for example, may not have stopped the war, nor did the New York-based artist presumably imagine otherwise, but given the ferocity of her gestures and grotesquely evocative encrustations of paint--phalluses emerging, keloid-like, from the fat striped red-and-gray ground; bunched-up stockings; collage; American flags; and a detumescent segment that hangs from the base of the panel to lie flaccidly on the floor--one cannot help but respond or admit to complicity.
"Painting": the Box
2003 issue and debated in subsequent issues], since he patronized the same
jack-off movie house in New York I did in the early 50's, before he went to Paris.
With Beauford Delaney
I won't get into the overdeterminations of the cowpoking, point out how their names might as well be
Jack-off and Anus, how the one who certainly bottoms in the film dies by its (his) end, as if scripted by the ideological forces Vito Russo wrote The Celluloid Closet against decades ago, or how the film depends on a stoic inarticulateness in keeping with the unsullied wilderness where it takes place--figures for a proper "natural" masculinity, privileging a forlorn, duplicitous, sacrificial monogamy over the possibility of a point-blank, variegated relationality.
Just say yes: Bruce Hainley on Liza With a "Z"