The first of two postings about message-bearing t-shirts. This one is a riff on a tee that I posted about in 2022; its message is the playful 100% Certified Queer, and the label QUEER in it turns out to be a many-layered thing.
The posting to come later focuses on four tees recently acquired or on their way to me soon: three with labels on them — GAY, FAIRY, PANSY — and one with gorgeous pansy flowers, the label being merely implicit.
Having just done two little postings on brief subjects this morning, I’m now going to wade into a few somewhat meatier subjects that have the potential to explode into larger matters of some weight.
The first of these came to me in tv commercials for the Liberty Mutual insurance company, featuring a Struggling Actor character — all of which delighted me and made me laugh out loud. One of my favorites, “Biberty Bungle” (the one with the bubbles), you can view here.
For reference in an upcoming posting about small worlds: brief accounts of Larry Kramer and John D’Emilio, two (justly) celebrated and very public gay men, of extraordinarily different natures, who I happened, once, to get linked with as a member of that category. (Blame it on my man Jacques, who knew the complexities of my nature but still managed, in his love, to think of me as genuinely heroic.)
(genitals and sex acts discussed in street language, so not for kids or the sexually modest)
From the Monty Python fandom wiki:
Biggus Dickus is a fictional character in the Monty Python film Life of Brian, portrayed by Graham Chapman. He is a Roman nobleman and officer. He is married, according to his friend Pontius Pilate, to Incontinentia Buttocks.
BD’s sexual-onomastic legions have advanced throughout modern media, where they have a particularly powerful role in gay male pornography; some productions are staffed almost entirely by raunchily named performers, their names travesties on those of masculine icons; louche plays on vivid everyday words; and vocabulary smeared with the X, XX, and XXX of obscenity.
Two striking examples that have come by me recently: a man who does business as Feral Fux or Feral Fuxxx; and another who performs as Fabio Stallion or Stallion Fabio.
Following up on yesterday’s (3/12) posting “Masculine flamboyance” about the political commentator Jon Favreau’s presentation of himself in an advertisement for Crooked Media’s Pod Save America show: as an impish hunk: impish via a half-smile; hunk via a display of his muscular forearms, signs of a ripped body. (I could also have noted his neck muscles and the solid torso beneath his t-shirt):
(#1) JF on display
This is a pose for the camera, so what we see is some mixture of (a) what we might think of as a picture of one of his “natural” personas (unconsciously composed), just being who he is (as if that were a simple thing) and (b) a calculated presentation, with some conscious thought devoted to choosing elements of his presentation for the photo. I would guess that some part of the image was calculated — perhaps, the light dusting of facial scruff, conveying masculinity (in case you might have doubts, given the flamboyance of JF in action, as described in yesterday’s posting).
(Underwear models displaying their bodies, with allusions to various forms of intense man-on-man sex, so not to everyone’s taste)
A Daily Jocks sale ad in my email today (2/25):
[ad text:] Cellblock13 at Daily Jocks — buy 2 & save 30%
What sort of dramatic relationship from the world of the butch faggy — Red Guy and Blue Guy, resplendent in their gorgeous intense colors — is illustrated here? Tell us their story!
I’m barely getting through my days, but now suddenly there are five new things on my plate (and dozens of other postings I’ve failed to follow up on). I’ve picked the thing of most immediate interest, since it follows up on my posting yesterday “Yo soy Johnny Peso”, where I wrote about this cartoon:
(#1)
In the 8/22 Bizarro strip, Wayno presents us with Johnny Peso, an intricately constructed Mexican-Spanish and Mexican-culture counterpart to Johnny Paycheck as a performer on the Grand Ole Opry stage. If you don’t know about Johnny Paycheck and the Grand Ole Opry, you’re doomed; the cartoon will be incomprehensible. If you know who they are, you’ll get the joke; and the more you know about them, the more you’ll see in Wayno’s cartoon (I suspect there are still more things that I’ve missed). And then there’s a lot to say about the way Johnny Peso introduces himself [with the stiff and Englishy yo soy Johnny Peso].
Then came the objections. In a Facebook comment from David Preston and this blog comment from Geoff Nathan:
— GN: Are you sure it isn’t a reference to Johnny Cash?
— AZ > GN: A point also made on Facebook by David Preston. Yes, surely peso is a rough (metonymic) translation of cash, so Johnny Peso would be a Mexican Johnny Cash. But I made a case in this posting that Johnny Peso is a Mexican Johnny Paycheck. The answer is that in the world of cultural allusion, both things can be true. I’ll expand on this idea in a separate posting [the one you’re reading right now].
Shimmer is both a floor wax AND a dessert topping.
In today’s Zippy strip, our zany, happy-go-lucky Pinhead finds himself drawn to dark imagery in art: in the wartime horrors of Picasso’s Guernica, in the monster within Albright’s Dorian Gray:
(#1) The Albright is especially unsettling for Zippy; what if his goofy exterior is only a mask for such a monstrous being within him? (Am I a monster?)
These musings on dark art follow immediately on Zippy’s anxiety yesterday, in my posting “Tell a joke, go to jail”, in which
Z confronts a pair of clay wraiths, lifeless in body and dead in soul, and tries desperately to interject fun … into the conversation; to counterpose silliness, play, and sheer joy against the dead weight of the world’s pain, suffering, and injustice; to plead for humanity over humorlessness; to advocate for delight, even in the smallest everyday things
A few notes on the two paintings, then a quick view of the ideas that made the Albright so disturbing to Zippy.
Very briefly: in entry 5 in the Waynoratu Nosferamanteau marathon, today, two anti-establishment vampires greet one another:
A 1960s-style hippie on the right (peace symbol, long hair, headband, etc.), a 1970s-style Johnny Rotten punk rocker on the left (anarchist symbol, spiky hair, studded collar. etc.)
Meanwhile, the punmanteau is a complex one: Johnny Rotten wrapped around nosfer– (representing Nosferatu)
