#jonathan marc stein

[harveyguillensource]

Harvey Guillén in Jonathan Marc Stein, 📸 by Maarten De Boer at the 2025 Elton John AIDS Foundation Oscars viewing party.

[harveyguilleniconodelamoda]

A Style Motif for 2025

Since Harvey's collaborations with Christian Siriano began in 2023, his red carpet moments have tended to share features for each year, bringing daring innovations on men's suits to nearly every event.

That first year, it was elevated tuxedos with luxurious trains, shoulder bows, and cropped jackets.

In 2024, it was the incorporation of corsetry, mesh, and stunning embroidery.

For 2025, Harvey appears to be branching out and pushing the envelope with backless blazers--and new designer collaborations!

Recently Harvey attended the 33rd annual Elton John AIDS Foundation Academy Awards Viewing Party in a black suit with a twist: not only was the jacket a wrap-style closure with a plunging neckline, it was backless!

Photo by Maarten de Boer for People Magazine.

The wool suit is a custom design by Jonathan Marc Stein Atelier, according to Harvey's Instagram post. The back of the jacket features an elegant gold chain and the belt, with the majority of the back open to the air.

As I mentioned in my breakdown of formal suiting for the post on Guillermo's wedding suit, the single-breasted or wrap jacket style is normally paired with a shawl collar and reserved for elegant but casual at-home wear in classic suiting, such as smoking and lounging jackets.

In this case, however, Stein paired the wrap closure with the much more formal peaked lapels of a tuxedo, usually reserved for black tie or white tie events. The look is finished with a golden lapel chain and four gold buttons on the cuffs, another touch of extra formality. The combination is unexpected, with an overall effect that is sophisticated, sexy, and daring. It speaks subtly of the kind of person who both knows the "rules" of formalwear, and also feels secure enough to break them.

The look was finished with fingerwaves by Connie Agawin and makeup by Romie Macedo. The look was styled by Melvin Sanders, who previously styled Harvey for his appearances on The Drew Barrymore Show and The View earlier this year.

The Designer

Stein is a 29-year-old designer from Ohio whose mission statement includes creating "garments for everyone" that "mirror the diverse qualities of the individuals for which they are made." (Source)

This ties into Harvey's style ethos concepts of inclusivity and authentic self-expression (though it should be noted, Stein's ready-to-wear size guide only goes to a women's XXL--not the first time I've seen similar from a designer claiming to be for "everyone," but unfortunate nonetheless).

Inclusivity is a bit of a fraught concept for the luxury fashion space in general, but that's an essay for another time. It's great in any case to see another designer working with Harvey for his red carpet looks. Christian Siriano is wonderful and will always get props from me for being a trailblazer in this regard, but if he continued to be the only option for actors of size, that would signal little headway being made in breaking the stranglehold thinness and fatphobia have on the entertainment industry.

Speaking of Siriano

...this is the second backless look Harvey has served this year, with the first being the custom Siriano teal velvet suit worn to the designer's own New York Fashion Week show.

Are we in for more backless looks for Harvey on the red carpet in 2025? I hope so!

Notes on Construction

One small quibble I have with both this and the Siriano backless look is the tailoring of the jackets. I realize that any tailoring on something as structured as a suit jacket must be made vastly more difficult by having a good third of the garment's usual construction taken away, but that's no excuse for awkward fitting on a custom piece.

This could perhaps be forgiven for Stein, who has less than a decade of experience under his belt, if he didn't tout his family's history in tailoring and his own background in engineering specifically as selling points for his designs. And Christian Siriano has been working in fashion since the Bush administration! Harvey looks gorgeous regardless, of course, but it doesn't seem unfair to say that a garment custom made for him should fit him better.

That being said, the concept of the backless blazer is still a triumph, in my opinion, and I cannot wait to see what else Harvey has in store for the red carpet this year!

[dustedmagazine]

Listening Post: Natural Information Society/Bitchin Bajas

Joshua Abrams’ Natural Information Society and the Bitchin Bajas both thrive in the fertile Chicago improvisatory community, but the two outfits have very different energies. Joshua Abrams got his start playing bass for the Roots, but he decamped for the Windy City years ago to take part in its free-wheeling free jazz experiment.

Abrams once held down a steady gig playing bass at Fred’s Velvet Lounge and collaborated with such jazz luminaries as Jeff Parker, Makaya McCraven, Dave Rempis, Hamid Drake, Rob Mazurek and Roscoe Mitchell. His current NIS ensemble reflects broad acquaintance within the jazz scene. It includes his wife, the visual artist and harmonium player Lisa Alvarado, as well as an ever shifting cast of heavyweights: Jason Adasiewicz, Mikel Avery, Ben Boye, Hamid Drake, Ben Lamar Gay, Emmett Kelly, Norberto Lobo, Artur Majewski, Nick Mazzarella, Jeff Parker, Frank Rosaly, Jason Stein, Kuba Suchar, Nori Tanaka and Chad Taylor.

In addition, Abrams has collaborated with a slew of non-jazz artists such as Bobby Conn, Bonnie Prince Billy, Prefuse 73 and Godspeed You Black Emperor. His interest in non-western music has led to a prolonged experiment with the North African guembri, a stringed instrument which figures prominently in his Natural Information Society Recordings.

Bitchin Bajas, by contrast, comes out of experimental rock. Led by Cooper Crain (ex of the kraut-droning Cave) it incorporates shimmering electronic and woodwind textures that touch on kosmiche, Afro-beat and gamelan in a kind of hazy dreamscape. Like Abrams, the Bitchin Bajas are inveterate collaborators, notably with Chicago guitarist Bill Mackay in BCMC, Bonnie Prince Billy, Olivia Wyatt and, obviously, Natural Information Society.

The two bands made one previous album in 2015, Autoimaginary that sketched out how their very different aesthetics might mesh, first in a side-long, enveloping, droning meditation, then in a series of shorter, more rhythmic compositions. The follow-up, Totality, comes just short of a decade later. It adheres to the same basic pattern, a lengthy luminous title track on one side and three scratchier, more percussive titles on the other.  

Intro by Jennifer Kelly

Jennifer Kelly: I’ve been listening to this album for a while, and I still get lost, in a very pleasant way, in the long title track. It feels like the center of a universe, with the sound extending indefinitely in every direction. I think it’s easy to think about how different NIS and Bitchin Bajas are, but they really merge very seamlessly in this one. What are you guys hearing and thinking about Totality?

Marc Medwin: Here's to nested recurrence! I love the idea of glancing deep into a universe center, or a universe  centered, especially at either end of that first side. When it fades, all occurring to that point, and we get layers galore, disappears except for the harmonium and bass dead center-stage, so similar to the textures and sonic placement that opened everything up more than 16 minutes before, more like zephyr than big bang but with muted rhythm at its own center, powerfully controlled, harnessed potential in action just before all fans out to either side, absolutely stunning! 

Not to hog the space, but one more thing I was thinking about as I listened to this collab's sophomore effort is the way technology creates dialogue. Obviously, this project digs deep and wide into the cultural reference crate but do you folks hear the equipment (and I'm not the one to parse what is being used!) actually creating the musical communication? I can't get over the precision with which each sound is placed, in the mix and on the soundstage! I'm a headphone listener, and this thing is a buzz!!

Jennifer Kelly: Great point Marc. I’m wondering if you could elaborate a bit on what you hear in terms of technology? 

Jonathan Shaw: Due to my materialist leanings, I am always going to be a sucker for a song called "Totality." It's really something. Just getting into the listening now, but I am really loving these textures.

Marc Medwin: And I think those textures are largely a technological concern. Please don't misunderstand. I'm not suggesting that traditional musicality is absent, far from it! The way the way the winds, strings and drums interact on "Always 9 Seconds Away"'s opening is magical, unified like chamber music! It's just that when the harmonium enters, it's as if two environments are merging, a small but live room for the drums, bass and winds and something more malleable as the harmonium is answered (all in the left channel) by ... what is that? All that is, to me, a technological miracle. Each layer influences how I hear the others, two levels of discourse, and of course, the Gargantuan opening track has many more layers of acoustic interaction that only technology can offer. I'm still not articulating this well. 

Jennifer Kelly: This makes sense to me. I do feel, especially on the long track, that I’m entering a physical space. 

Bill Meyer: So, Marc, when you are referring to technology, it sounds like you are referring to the successfully precise placement of sounds in the mix, right?

Marc Medwin: To an extent, yes, the mix is certainly a large part of it but also the way everything is recorded, environments are captured and to the judicious use of effects, all part of the dialogue.

Bill Meyer: First of all, there's a lot of technical knowledge about recording spread across the two ensembles. Joshua Abrams has been doing post-production on NIS records and home recording for about 15 years. NIS' drummer, Mikel Patrick Avery, makes guitar effects pedals as a hobby. Cooper Crain of the Bitchin Bajas is a producer, engineer and the lead house soundman at Constellation in Chicago. Rob Frye of the BBs often does sound at Constellation. I can't say anything about Dan Quinlivan’s knowhow since he's not part of the Constellation sound team, but he sometimes has the heaviest-laden table at a Bajas concert, so I would speculate that at a minimum he knows his gear. 

Second, there's the recording procedure and the setting where the album was recorded. This album was recorded in a day, mainly live, which is also the way that most of the last NIS record was recorded. It was done at Electrical Audio, which means that you have a good room and excellent analog equipment being used by people who know the room and know the equipment. Crain in particular is versed in analog as well as digital recording. 

Third, I suspect that Abrams influenced how this album was mixed. He is a huge Lee "Scratch" Perry fan who prizes mixing as a performative act, and he did a lot of live mixing with the last NIS record, adding effects at the same time that they were setting levels. So, there's a dub-informed sense of space and an awareness of mixing as a moment of immediate decision. 

Marc Medwin: I hadn't considered the dub aspect, Great! Getting back to Jen's initial point, yet another manifestation of that universe of the album's title. On that first side, I can't help but think of Soft Machine's Third and the loops informing their Spaced project, but we've come such a long way since 1970! 

Tim Clarke: My first listen to the title track was revelatory! How can such a large ensemble of musicians play with such restraint and sensitivity?! Once the rhythm section picks up momentum, I took a glance at the amount of time the track had left to run and immediately had a sinking feeling... I would happily have listened to the groove run out for another 10 minutes, at least. For this reason, the shorter tracks are less satisfying, but the slow, gentle swing and unison playing of "Always 9 Seconds Away" is really lovely.

Upon repeat listens, the texture and timbre of the music is still deeply satisfying, but I wonder how much work has gone into finessing the mix. I also wonder how this gets away with deploying largely New Age sounds in a way that doesn't end up feeling hackneyed or annoying. Either way, this is a really beautiful record.

Ian Mathers: The first thing that surprised me about this record is just that, based on the number of people contributing, I expected it to be possibly somewhat overstuffed (which can be good). But the whole thing feels rather... spacious. I'm glad to get more recording/production/ mixing context from this conversation, because it absolutely helped me understand why I kept going back and forth between feeling like this felt very "live," in the room and it feeling like a real showcase of the whole "studio as an instrument" production (in a less overt way than I think that term sometimes gets used). It is absolutely lovely, errr, totalizing stuff, and feels weirdly well represented by the cover art: simplicity (in the pattern) married with a pleasingly dense lushness (in the texture). I do like the title track a lot, but I admit the one I keep going back to is "Always 9 Seconds Away." And what a fitting, evocative, kind of nerve-provoking title; for all 13 plus minutes it feels like the track is constantly arriving but never quite getting there.

I'll admit I'm more familiar with Natural Information Society than Bitchin Bajas (and have not gone super deep on either); I certainly recognize elements of the former here but would be fascinated to hear what parts others identify as being more in line with the Bajas' sound, or even how this collaboration goes beyond or outside what either group normally does, if there is anything.

Bill Meyer: I just got home from the record release concert which is, I reckon, the fourth ever by the conglomerate of ten years. I got a bit more recording information, mostly from chatting with Rob Frye. The album was recorded between 10 am-7 pm the day after their last concert before tonight, c. three years ago, at Electrical Audio in Chicago. They ended when they did because Abrams had a gig that night. A few overdubs were done later, including some flute, and also some editing. There will be another gig in October, on the second night of Stereolab’s visit to Chicago in October. 

The name Totality comes from a shared experience. Everyone in the joint combo except Avery has been at Frye’s parent’s home in rural Missouri on one of two occasions in the past decade when there was a total eclipse. They’re hoping they can pull off a gig in Spain when the next totality occurs there in August. 

The concert comprised all four pieces from the album, but the shorter ones ended up getting played a bit longer and a bit differently from how they sound on the LP. It was a very good night.

Jennifer Kelly: Funny I was just looking for live video, given our focus on production/recording. Was it about the same as the record or were there notable differences?  You mentioned the tracks being extended, but did it have that enveloping sound?

Bill Meyer: There were differences, especially on the second tune of each side of the record. I think that the distinguishing rhythms were de-emphasized, and the textures moved up on those pieces. The first track on each side was very recognizably the same piece as the record. I'm afraid that I did not think about taking a video, I was mostly busy listening and enjoying. 

Definitely enveloping. A lot of that is due to having a lot of complementary instrumentation that can really thicken the sound; the flute with echo plus bowed double bass and the organ/synth/harmonium combos blanket things in a good way. 

Marc Medwin: I was going to ask how many times these two groups have performed together, thank you for supplying the info! I guess, based on what you learned about the recording process, that effects would have been part of the recording process, not surprising at this point. I saw Jacqueline Kerrod and Joe Morris the other night, and both had quite the arsenal of effects with which they dialogued through the single-piece improvised set, pretty great and most likely somewhat similar to what we're hearing in the gradual musical/sonic unfolding on the first side of Totality. 

Christian Carey: It’s great to hear about the release party from Bill and Marc’s take on recording. It makes sense that the shorter tracks would be stretched out live. And it speaks to the quality of the musicians that there has been such a long hiatus, and they created the recording in a single day with a strong sense of ensemble coordination. The overdubs work nicely, but they don’t seem to be necessary to rescue lulls or stitch together thin textures. 

Totality is a reference to the post-style music that these musicians make. Bill, which cohorts were in the audience?

Bill Meyer: It was a sold-out show, as full as Constellation ever gets. Since I’m there a lot, I’d say that I saw all the usual suspects, by which I mean the free jazz/improv/experimental/fringe crowd to which I belong. There is a strong overlap between NIS and BBs fans in Chicago. The audience was bigger than that, though, and I would speculate that the additional people were open-minded curious folks who were there because they read about the show in the Chicago Reader and the Chicago Tribune.  

Per my conversation with Frye, the titular concept of totality is informed by the fact that members of both bands are eclipse chasers, and everyone in the combined ensemble except Mikel Avery was present at one or the other of two gatherings held at his parents’ home in southern Missouri to witness total eclipses. They are trying to figure out if they can make it to Spain to witness a total eclipse that is expected in late August and would welcome the chance to play in support of it. But I’m sure they would welcome other interpretations. 

Christian Carey: I wonder who would be in attendance if they played in New York? 

Ian Mathers: I would definitely be in attendance if they played in Toronto, not that I'm holding my breath. I love the detail that they ended recording so that Abrams could go play a show, and the other details of recording. One thing I'm not clear on, and apologies if I've missed a discussion of this earlier; when they sat down to record, did they have specific compositions in mind, or was (some or all of it) improvised? The tidbit that two of the pieces were very much the same live but two significantly different has me wondering. (And from listening to the recorded version, I could honestly see it going either way.)

Jennifer Kelly: Bitchin Bajas toured New England a couple of years ago, but I don’t think Natural Information Society has ever played anywhere near here.

Bill Meyer: I think there’s some agreed upon structure in all the music they share, but there’s also room for things to happen. 

NIS had played around a bit, but the heavier touring has happened in Europe. They have had phases of playing multiple times per year in Chicago, but also times when they lay low. The Bitchin Bajas have logged some serious mileage in Europe and the US. 

Marc Medwin: Yeah! I hear what might be compositional frames, or even melodic ideas. I'm thinking of the tiered melody underpinning "9 Seconds Away” and paving the way for that collective improv stuff later on in the piece. It's always fascinating to dig down under that improv/composition boundary, because you can get into arrangement issues by doing that. I love the way the bass and flute interact on that melody, how unified they sound. So much of this music is about layered subtlety! 

Bill Meyer: If you look back over their combined discographies, both the Bitchin Bajas and Natural Information Society are quite happy to play composed tunes and grooves. But since there's a lot of improvisational acumen on board, the two combine. I think what differentiates this music from what each does on their own does not fall on a fault line of improvisation or composition, but what textures they emphasize and what rhythms they choose to play.  

Tim Clarke: The way the melodies and rhythms seem to emerge kaleidoscopically out of the textures is quite magical.

Bill Meyer: Both groups grew from the seed of a particular instrumental sound, the guimbri for NIS and analog synthesizer for Bitchin Bajas. So, it makes sense that that the musical moving parts and structures seem to emerge from the sounds. 

Tim Clarke: For anyone loving what they're hearing on Totality, where would you recommend heading next, Bill?

Bill Meyer: Their first collaboration, of course, Autoimaginary, which was released in 2015 and has just been repressed. It was done with a different edition of NIS (Abrams, Alvarado, Emmet Kelley, Frank Rosaly) but if you like the new one, you'll probably like that one quite a bit too. Since Time Is Gravity, the last NIS record, which shares the combination of mostly live recording and dub-conscious mixing. And if I had to pick one Bajas record, it would be Bajas Fresh because it concentrates their percolating rhythms and has their best Sun Ra cover. 

Ian Mathers: This collaboration got me to finally check out a Bitchin Bajas record after meaning to for years (NIS I'd heard, mostly based on Dusted recommendations, and quite like). My love of shorter records meant I checked out 2022's Bajascillators (well that plus a love of the album art they used). I think I'd forgotten they were analogue synth-based, but that record certainly reminded me (in a good way). Even if NIS doesn't swing through, I'll have to try and catch the Bajas next time they're in town.

[brysmaleidols]

Dylan Rubic modeling for Jonathan Marc Stein

[jules-has-notes]

A Cappella at the Rock (Newtown, PA) — VoicePlay live performances

The annual pop a cappella festival at Council Rock High School North consists of a day of workshops and master classes, followed by an evening competition, then a concert from a professional group that includes a special group number with all the students. In 2017, the featured professionals were VoicePlay (with Erik Winger as their substitute baritone). This event was the middle of a whirlwind weekend for the guys, but they always enjoy doing educational outreach.

NOTE: The video quality for most of these recordings isn't great because the audience member was trying to be discreet and respectful of their neighbors. The audio is okay, though.

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This clip is missing the very beginning of the song and a view of the guys, but you can definitely hear them.

Details:

title: Ride

original performers: Twenty One Pilots

written by: Tyler Joseph

arranged by: Geoff Castellucci

performance date: 1 April 2017

My favorite bits:

Eli, Earl, and Winger pulling off that fast harmonized patter live

that rapid-fire percussion Layne does behind ♫ "bullets coming through" ♫

Geoff wandering into the basement on ♫ "I'm falling sooooo" ♫

the gradual layering in the bridge

Eli's big old belts in the last section

Trivia:

This arrangement was originally the third video in their PartWork series, with just Eli, Geoff, and Layne covering all five parts.

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The videographer managed to get a view of the stage in this one, albeit upside-down. The guys still sound as fantastic as always.

Details:

title: Aca Top 10 – Broadway

original songs: [0:07] "Everyone's A Little Bit Racist" from Avenue Q; [0:35] "Sherry" from Jersey Boys; [0:50] "Belle" from Beauty and the Beast; [1:14] "Seasons of Love" from Rent; [1:33] "Master of the House" from Les Miserables; [1:50] "All That Jazz" from Chicago; [2:11] "He Lives In You" from The Lion King; [2:28] "Popular" from Wicked; [2:50] gentle mockery of Spider-Man: Turn Off the Dark; [2:53] "Phantom of the Opera" from Phantom of the Opera; [3:18] "Hello!" from The Book of Mormon

written by: "Everyone's A Little Bit Racist" by Robert Lopez & Jeff Marx; "Sherry" by Bob Gaudio; "Belle" by Alan Menken, Howard Ashman, & Tim Rice; "Seasons of Love" by Jonathan Larson; "Master of the House" by Claude-Michel Schönberg, Alain Boublil, & Jean-Marc Natel; "All That Jazz" by John Kander & Fred Ebb; "He Lives In You" by Lebohang "Lebo M" Morake, Mark Mancina, & Jay Rifkin; "Popular" by Stephen Schwartz; "Phantom of the Opera" by Andrew Lloyd Webber, Charles Hart, Richard Stilgoe, & Mike Batt; "Hello!" by Trey Parker, Matt Stone, & Robert Lopez

arranged by: Layne Stein & Geoff Castellucci

performance date: 1 April 2017

My favorite bits:

Layne's fun scampering percussion run at the end of Avenue Q

Winger and Eli doing their villager voices in "Belle"

the rising crescendo in "Seasons of Love"

the Spider-Man gag

Geoff's growled drop in "Phantom"

that big final ♫ "Hellooooo!" ♫

Trivia:

The guys recorded their video for this medley in September 2014, and performed it on the 2015 Sing-Off tour the following spring.

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Although the view is peeking between other audience members, you can still see a bit of the guys' antics during this romp through nonsense lyrics and phonations.

Details:

title: A Crimpella

original songs / performers: [0:55] "Walk the Dinosaur" by Was (Not Was); [1:11] "Witch Doctor" by Alvin & the Chipmunks; [1:19] "Chitty Chitty Bang Bang" from Chitty Chitty Bang Bang; [1:23] "We Go Together" from Grease!; [1:30] “Motownphilly” by Boyz II Men; [1:38] "Imma Be" by the Black Eyed Peas; [1:46] "Tutti Frutti" by Little Richard; [1:49] "Shoop" by Salt N Pepa; [1:53] "Jock-A-Mo" (aka "Iko Iko") by James "Sugar Boy" Crawford; [2:03] "Mahna Mahna" from The Muppet Show; [2:14] "Lovin, Touchin, Squeezin" by Journey; [2:38] "Goofy Goober Rock" from The SpongeBob SquarePants Movie; [2:41] "MMMBop" by Hanson; [2:53] "Hooked on a Feeling" by Blue Swede; [2:57] "Bawitdaba" by Kid Rock; [3:02] "Breaking Up Is Hard to Do" by Neil Sedaka; [3:10] "Bohemian Rhapsody" by Queen; [3:25] "Bad Romance" by Lady Gaga; [3:30] "Can't Get You Outta My Head" by Kylie Minogue;[3:36] "Limbo La La" by James Lloyd; [3:40] "All Night Long" by Lionel Richie; [3:57] "Wanna Be Starting Something" by Michael Jackson; [4:04] "Na Na Hey Hey Kiss Him Goodbye" by Steam

arranged by: VoicePlay

performance date: 1 April 2017

My favorite bits:

Geoff's extensive list of social media accounts before they start singing (and whoever clucks)

Eli getting launched into the air

the audience joining in with Winger before the rest of the guys return to their mics

using the final ♫ "Good-byyyyye" ♫ as their exit line

Trivia:

This medley was one of the earliest videos on their YouTube channel, and a staple of their live shows for many years.

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For the final number of the night, the guys were joined on stage by the student groups to create an ocean of sound. (And this videographer was much less shy about capturing it for posterity.)

Details:

title: Don't Stop Believin'

original songs / performers: "Don't Stop Believin'"; [2:36] "Open Arms"; and [2:45] "Any Way You Want It" by Journey; [2:29] "Oh Sherrie" by Steve Perry

written by: all songs written by Steve Perry in collaboration – "Don't Stop Believin'" with Jonathan Cain & Neal Schon; "Oh Sherrie" with Randy Goodrum, Craig Krampf, & Bill Cuomo; "Open Arms" with Jonathan Cain; "Any Way You Want It" with Neal Schon

arranged by: Layne Stein & Geoff Castellucci

performance date: 1 April 2017

My favorite bits:

all the kids dancing and connecting with each other

the guys turning around and dropping out during "on and on" to let the chorus shine

Earl's opt-up at the end of ♫ "searching" ♫

the layering of the polyphony section

Trivia:

This song has been part of their catalog since their 4:2:Five days. The earliest concert performance I've found is from a 2009 benefit concert at the University of Rochester.

They finally recorded a video for it when they were the featured artists at Camp A Cappella 2016.

This video was originally posted to Facebook by one of the parents of a student at Neshaminy High School in Langhorne, PA.

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Additional photos

pre-show naps // post-show smiles (except grumpy Layne)

[queermtl]

QUEER MTL THINGS TO DO: October 2023

It’s October in Montréal, and autumn in the city always starts off with a bang and ends with the fun and frolics of “gay Christmas”—Halloween! This month, Montréal is stuffed to the brim with events, parties and unique experiences painted in all the colours of the LGBTQ+ rainbow. From drag to community, circuit to underground, here’s some of our picks for the best LGBTQ+ things to do in the city. For further announcements, including those not announced at time of publication, follow QueerMTL on Instagram, Twitter, Facebook and Tumblr! Got an event coming up? DM it our way!

EVENTS

Sunday, October 1

🎉 La gailaxie ligue d’improvisation, Cabaret Mado

Monday, October 2

✍️ Trivia Mondays hosted by Bambi Dextrous, Diving Bell Social Club

Tuesday, October 3

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal,

Wednesday, October 4

✍️ Queer Sip & Draw, Blue Dog Motel

🧩 Ellelui presents Games Night, Ping Pong Club

Thursday, October 5

🎤 Queer Karaoke Night, BMP Co-op

Saturday, October 7

🎉 La gailaxie ligue d’improvisation, Cabaret Mado

🎤 Bareoke: Strip Karaoke, Café Cléopatra

Sunday, October 8

😆 A Very Pretentious Comedy Show #10—A Very Sandy One with Nart, Sandy Bridges, Jonathan Burrello, Mbissine, Zak Kik, John Cotrocois, Sandy El Bitar and Raquel Maestre, Diving Bell Social Club

Monday, October 9

✍️ Trivia Mondays hosted by Bambi Dextrous, Diving Bell Social Club

Tuesday, October 10

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Wednesday, October 11

✍️ Queer Sip & Draw, Blue Dog Motel

Thursday, October 12

🎤 Queer Karaoke Night, BMP Co-op

🎭 Queer Broadway cabaret with Melanie Thompson, Amanda Caron Garbacz, Jonathan D’Amour, Marc Ducusin, Danielle Keiko Eyer, Maya Lewis, Jeanne Motulsky, Ciatha Night, Charlotte Paradis, Veronica Schnitzer, Kenny Stein and Joseph-Salvatore Vitale, Café Cléopatre

🎥 L’Amour à Minuit: Vampyros Lesbos (1971), Cinéma L’Amour

Friday, October 13

🎭 Queer Broadway cabaret with Melanie Thompson, Amanda Caron Garbacz, Jonathan D’Amour, Marc Ducusin, Danielle Keiko Eyer, Maya Lewis, Jeanne Motulsky, Ciatha Night, Charlotte Paradis, Veronica Schnitzer, Kenny Stein and Joseph-Salvatore Vitale, Café Cléopatre

🧙‍♀️ Maleficarum MTL—Vamps & Witches Edition, 4000 rue St-Ambroise

Saturday, October 14

👠 Femmes Fatales Burlesque, Café Cléopatra

🧙‍♀️ Maleficarum MTL—Vamps & Witches Edition, 4000 rue St-Ambroise

📚 Violet Hour Book Club meets to discuss House Within a House by Nicholas Dawson, Archives gaies du Québec

Sunday, October 15

🎉 La gailaxie ligue d’improvisation, Cabaret Mado

🧙‍♀️ Maleficarum MTL—Vamps & Witches Edition, 4000 rue St-Ambroise

Monday, October 16

🧑‍🤝‍🧑 Jam d’impro contact, en mixité choisie, White Wall Studio

✍️ Trivia Mondays hosted by Bambi Dextrous, Diving Bell Social Club

Tuesday, October 17

🎥 REEL GAY: Jennifer’s Body with Butterscotch Blondie, Diving Bell Social Club

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Wednesday, October 18

✍️ Queer Sip & Draw, Blue Dog Motel

Thursday, October 19

👠 Les Folies Draglesques with Miami Minx, Uma Gahd, Aizysse Baga, Bonbon Bombay, Celesta O’Lee, Eldritch Mor and Selma Gahd, Cabaret Mado

🎤 Queer Karaoke Night, BMP Co-op

Saturday, October 21

🤝 Queer Business Networking Event, L’Etage

🏳️‍⚧️ Devenir parent quand on est trans ou non-binaire, Coalition des familles LGBTQ+

🎤 Bareoke: Strip Karaoke, Café Cléopatra

Sunday, October 22

🎉 La gailaxie ligue d’improvisation, Cabaret Mado

👩‍❤️‍💋‍👩 Lesbian / Queer Womyn Slow Dating 27-45, Rockaberry

Monday, October 23

✍️ Trivia Mondays hosted by Bambi Dextrous, Diving Bell Social Club

Tuesday, October 24

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Wednesday, October 25

✍️ Queer Sip & Draw, Blue Dog Motel

Thursday, October 26

🎤 Queer Karaoke Night, BMP Co-op

Sunday, October 29

🎉 La gailaxie ligue d’improvisation, Cabaret Mado

Monday, October 30

✍️ Trivia Mondays hosted by Bambi Dextrous, Diving Bell Social Club

Tuesday, October 31

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal.

PARTIES

Saturday, October 7

🥳 District Events’ RISE with GSP and Paskal Daze, Bain Mathieu

Sunday, October 8

🥳 FRKY | GIVING with Miguel Graça, Moka, Rawsoul, Plastik Patrik, Manclaudy and Renée-Claude Morin, La Sotterenea

🥳 District Events’ RITUAL, a Day Party with B’ugo and Karsten Sollors, Le Balcon

Saturday, October 21

🥳��Un samedi soir dans le VILLAGE!—Lez Danze with DJ Lili Manseau, Taverne Urbaine

Friday, October 27

🥳 Queen & Queer Dance Party—Édition Halloween with Lis Dalton and DJ Sam, Bain Mathieu

Sunday, October 29

🥳 Freak Fest—The Afro Caribbean Halloween Party, Jet Nightclub

DES SPORTS

🛼 Montréal Roller Derby Presents Haunting on Mont Royal Hill on October 6-8, 2023 with New Skids, Les Sexpos, Tri-City, Gotham A, Gotham B and Team Ontario, Arena St Louis.

👯‍♀️ Initiation au Tango Queer, mercredi 11 octobre, Lespacemaker

👠 Twice a month on every second Tuesday, Bring It! hosts an OTA night of ballroom and vogue with commentator and DJ. Follow their Instagram for dates and details.

🚲 Montréal Queer Bike Polo meet on Thursdays, with details on Instagram

🎾 Ligue de dimanche meet at the Parc Louis-Riel tennis courts every Sunday

🤠 Club Bolo—Danse Country Montréal meet on Fridays at the Association sportive et communautaire du Centre-Sud

💃 Tango/Salsa Queer’s continue, with Salsa Queer on Saturdays from 13:30-14:30 and Tango (beginners/intermediate) on Saturdays at 12:00-13:30. Contact tango.queer@hotmail.com or call +1 (438) 930-8529 for prices and signup information.

🏐 Les Ratons-Chasseurs (Montréal’s LGBTA dodgeball group) holds regular events. Keep an eye on their Facebook for upcoming opportunities to join in and play.

🕹Montréal Gaymers hosts regular gatherings including board game nights and gaming gatherings. Check their Facebook for what’s next!

🏃🏾Join the Out-Run run and workout club for people relating to the queer / sapphic experience. Details on their Instagram!

🐦 Bird lovers should keep their eye on Queer Birders' regularly scheduled birdwatching events and excursions. Join the Facebook group and get those binoculars at the ready.

DRAG

Montréal’s vibrant drag community features several regularly-scheduled nights hosted by local luminaries, each featuring guest performers. Check venue websites for full line-ups!

Sunday, October 1

👑 Le Tracy Show with Tracy Trash, Krystella Fame, Kelly Torrieli and Heaven Genderfck Cabaret Mado

👑 Michel Dorion, 35 ans de carrière, Bar le Cocktail

Monday, October 2

👑 La Petite Drag with the queens of Cabaret Mado, Cabaret Mado

Tuesday, October 3

👑 Full Gisèle with Gisèle Lullaby, Cabaret Mado

Wednesday, October 4

👑 Drag Race Brazil viewing party with Muz’Emma, District Video Lounge

Thursday, October 5

👑 Boom & Précieuse with Lady Boom Boom, Jessie Précieuse, Kiara and Jenna, Cabaret Mado

👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

👑 Jimmy Moore Drag Show with Jimmy Moore, Complexe Sky

Friday, October 6

👑 Queens of the World Group B with Kleopatra Perfection, Zahra Bizarre, Lily Shade, EmmOtional Damage, Bebe Elle, Dolores Diamonds, Natachatte, Marla Dragn and Queer Latina, Bar Notre Dame Des Quilles

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Saturday, October 7

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Drôles de Drags with Miss Butterfly, Bar Le Cocktail

Sunday, October 8

👑 Le Tracy Show with Tracy Trash, Kiara, Bambi Dextrous and Mister Boogie, Cabaret Mado

Tuesday, October 10

👑 Full Gisèle with Gisèle Lullaby, Cabaret Mado

Wednesday, October 11

👑 RuPaul’s Drag Race Season 15’s Anetra, Cabaret Mado

👑 Drag Race Brazil viewing party with Muz’Emma, District Video Lounge

Thursday, October 12

👑 Jimmy Moore Drag Show with Jimmy Moore, Complexe Sky

Friday, October 13

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Saturday, October 14

👑 Queens of the World Group C with Kleopatra Perfection, Lux N’ Such, Augusta Wind, Psyberia, Meh Dafok, Lady Monrose, Divaartist, Muz’Emma and Zaya, Bar Notre Dame Des Quilles

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Drôles de Drags with Crystal Starz, Bar Le Cocktail

👑 Lara: Hommage à Lara Fabian with Ciatha Night, Bar Le Cocktail

Sunday, October 15

👑 Le Tracy Show with Tracy Trash, Jessie Précieuse, Marla Deer and Eva Moist, Cabaret Mado

Tuesday, October 17

👑 Full Gisèle with Gisèle Lullaby, Cabaret Mado

👑 Under Kingstruction presents Hallo-Queer with Infernal Desires, Bar Le Cocktail

Wednesday, October 18

👑 Les Golden Girls with Tracy Trash, Lana Dalida, Marla Deer and Prudence, Cabaret Mado

👑 Lulu’s Spooks for Diva with Lulu Shade, Dupre Latour, Miss Behave, Val The Freak and Woody Fungi, Bar Le Cocktail

👑 Drag Race Brazil viewing party with Muz’Emma, District Video Lounge

Thursday, October 19

👑 Les Folies Draglesques with Miami Minx, Uma Gahd, Aizysse Baga, Bonbon Bombay, Celesta O’Lee, Eldritch Mor and Selma Gahd, Cabaret Mado

👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

👑 Jimmy Moore Drag Show with Jimmy Moore, Complexe Sky

Friday, October 20

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Saturday, October 21

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Drôles de Drags with Emma Déjavu, Bar Le Cocktail

Sunday, October 22

👑 Le Tracy Show with Tracy Trash, Sasha Baga, Lady Boom Boom and Bobépine, Cabaret Mado

👑 Sally-D nu-D with Sally-D, Bar Le Cocktail

Monday, October 23

👑 Derek Wood presents Tim Burton with Uma Gahd, Demone Lastrange, Lana Dalida, Blueberry Moore and Roxy, Cabaret Mado

Tuesday, October 24

👑 Full Gisèle with Gisèle Lullaby, Cabaret Mado

Wednesday, October 25

👑 Sashalicious with Sasha Baga, Cabaret Mado

👑 Drag Race Brazil viewing party with Muz’Emma, District Video Lounge

Thursday, October 26

👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

👑 Jimmy Moore Drag Show with Jimmy Moore, Complexe Sky

Friday, October 27

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Saturday, October 28

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Drôles de Drags with Ciatha Night, Bar Le Cocktail

👑 Rendez-vous de la drag with Rita Baga, La Big Bertha, Ra’jah O’Hara, Michel Dorion, Uma Gahd and more, Palais des congrès de Montréal

Sunday, October 29

👑 Le Tracy Show with Tracy Trash, Cabaret Mado

👑 Rendez-vous de la drag with Rita Baga, La Big Bertha, Ra’jah O’Hara, Michel Dorion, Uma Gahd and more, Palais des congrès de Montréal

Monday, October 30

👑 Filles de peur: Volume 2 with Aizysse Baga, Lady Boom Boom, Kiara and La Freak du Show, Cabaret Mado

Tuesday, October 31

👑 Full Gisèle with Gisèle Lullaby, Cabaret Mado

[justiceheartwatcher]

Joe and Mika Boast About Hanging Out With 'Hitler' - Todd Starnes

[ulkaralakbarova]

Basket-case network news producer Jane Craig falls for new reporter Tom Grunnick, a pretty boy who represents the trend towards entertainment news she despises. Aaron Altman, a talented but plain correspondent, carries an unrequited torch for Jane. Sparks fly between the three as the network prepares for big changes, and both the news and Jane must decide between style and substance. Credits: TheMovieDb. Film Cast: Tom Grunick: William Hurt Aaron Altman: Albert Brooks Jane Craig: Holly Hunter Ernie Merriman: Robert Prosky Jennifer Mack: Lois Chiles Blair Litton: Joan Cusack Paul Moore: Peter Hackes Bobby: Christian Clemenson Bill Rorich: Jack Nicholson Martin Klein: Robert Katims George Wein: Ed Wheeler Gerald Grunick: Stephen Mendillo Young Tom: Kimber Shoop Young Aaron: Dwayne Markee Young Jane: Gennie James Jane’s Dad: Leo Burmester Elli Merriman: Amy Brooks Anne Merriman: Jane Welch Clifford Altman: Jonathan Benya Mercenary: Frank Doubleday Lila: Sally Knight Spanish Cameraman: Manuel Alvarez Guerilla Leader: Luis Valderrama Guerilla Soldier: Francisco Garcia General McGuire: Richard Thomsen Commander: Nat Benchley Date-Rape Woman: Marita Geraghty Weekend News Producer: Nicholas D. Blanchet Makeup Woman: Maura Moynihan Floor Manager: Chuck Lippman Paul’s Secretary: Nannette Rickert Edward Towne: Timothy W. White Tom’s Soundwoman: Peggy Pridemore Emily: Emily Crowley Newsroom Worker: Gerard Ender Donny: David Long Chyron Operator: Joshua Billings Technical Director: Glenn Faigen Technical Director: Robert Grevemberg Jr. Control Room Director: Richard Pehle Weekend News Director: James V. Franco Assistant Director: Jimmy Mel Green Assistant Director: Raoul N. Rizik Technician: Mike Skehan Audio Visual Engineer: Franklyn L. Bullard News Theme Writer: Glen Roven News Theme Writer: Marc Shaiman Lecture Host: Alex Mathews Aaron’s Cameraman: Steve Smith Aaron’s Soundwoman: Martha Smith Mother in Hall: Cynthia B. Hayes Young Tough: Dean Nitz Young Tough: Phil Ugel Young Tough: Lance Wain Ellen: Susan Marie Feldman Tom’s Female Colleague: Jean Bourne Carinci Cab Driver: M. Fekade-Salassie Uniformed Cop: Gerald F. Gough Defense Dept. Spokesman: Robert Rasch NATO Spokesman: Robert Walsh Angry Messenger: John Cusack Film Crew: Producer: James L. Brooks Production Design: Charles Rosen Casting: Ellen Chenoweth Editor: Richard Marks Director of Photography: Michael Ballhaus Unit Production Manager: David V. Lester Music Editor: Bob Badami Associate Producer: Kristi Zea Original Music Composer: Bill Conti Camera Operator: David M. Dunlap Co-Producer: Penney Finkelman Cox Foley Editor: Mark P. Stoeckinger Costume Design: Molly Maginnis Executive Producer: Polly Platt ADR Recordist: Charleen Richards Associate Producer: Susan Zirinsky Color Timer: Bob Hagans Boom Operator: Joseph F. Brennan Hairstylist: Colleen Callaghan Foley Editor: Cindy Marty ADR Voice Casting: Barbara Harris Still Photographer: Kerry Hayes First Assistant Editor: Karen I. Stern Stunt Coordinator: Jery Hewitt Construction Foreman: Steve Callas Sound Effects Editor: Patrick Drummond Supervising Sound Editor: Robert Grieve Makeup Artist: Carl Fullerton Property Master: Mark Wade Sound Re-Recording Mixer: Rick Kline Sound Re-Recording Mixer: Donald O. Mitchell Sound Re-Recording Mixer: Kevin O’Connell Dialogue Editor: Dave Kulczycki Location Assistant: Peggy Pridemore Script Supervisor: Mary Bailey First Assistant Camera: Gábor Kövér Dialogue Editor: Jacqueline Cristianini Dialogue Editor: Frank Smathers ADR Editor: Jessica Gallavan Construction Coordinator: Bruce J. Gfeller ADR Editor: Jeff Rosen Set Decoration: Jane Bogart Best Boy Electric: Jerry DeBlau Unit Publicist: Anne Marie Stein Gaffer: John W. DeBlau Sound Effects Editor: Linda Whittlesey Production Coordinator: Cynthia Streit Sound Mixer: Thomas Causey Supervising ADR Editor: Beth Bergeron Second Assistant Director: David Sardi Negative Cutter: Donah Bassett Key Grip: Dennis Gamiello Location Manager: Stuart Neumann Dolly Grip: John Lowry First Assistant Director: Yudi Bennett Se...

[lacetulle]

Jonathan Marc Stein | Spring/Summer 2020

[paradisevallley]

[harveyguillensource]

Harvey looked sharp at the Elton John AIDS Foundation's 2025 Oscars viewing party!

He brought back the iconic back cutout he featured in his look at Christian Siriano's NYFW Fall/Winter 2025 show, this time in a custom suit by Jonathan Marc Stein!

[plaza13]

El LOS ÁNGELES FASHION WEEK se lleva a cabo desde el icónico Magestic Downtown

El LOS ÁNGELES FASHION WEEK se lleva a cabo desde el icónico Magestic Downtown

RunwayMyWay: La Semana de la Moda de Los Ángeles, California se despidió de su concepto virtual con las pasarelas del Art Hearts Fashion. De esta manera se marca el comienzo de una semana de espectáculos y eventos en el Majestic Downtown que ha servido de locación para importantes películas de Hollywood. LOS ANGELES, CALIFORNIA – OCTOBER 14: A model walks the runway during HOUSE OF SKYE By Skye…

[wazafam]

By BY JONATHAN ABRAMS, SCOTT CACCIOLA, SOPAN DEB AND MARC STEIN from Sports in the New York Times-https://www.nytimes.com/2021/05/22/sports/basketball/nba-playoff-preview.html?partner=IFTTT Injuries and illness dragged down the records of several teams, including the defending champion Los Angeles Lakers. That could mean early postseason exits for the season’s best. In the N.B.A. Playoffs, the Scariest Teams Aren’t at the Top New York Times

[ericmathias]

Jonathan Marc Stein, Atelier – Sept. 30, 2022 from Eric Mathias on Vimeo.

Jonathan Marc Stein is an influential fashion designer with a fresh style. His clothing incorporates quality with class, and a splash of edge. JMS designs for celebrities, men, and women.

A Cincinnati, Ohio native with a

[jules-has-notes]

Aca Top 10: Broadway — VoicePlay music video

VoicePlay have a reputation as the theater kids of the a cappella world. So it should come as no surprise that the second entry in their "Aca Top 10" series is a countdown of songs from Broadway musicals, and that they made it entertaining as all get-out.

Details:

title: Aca Top 10 – Broadway

original songs: "Everyone's A Little Bit Racist" from Avenue Q; [0:27] "Sherry" from Jersey Boys; [0:45] "Belle" from Beauty and the Beast; [1:07] "Seasons of Love" from Rent; [1:26] "Master of the House" from Les Miserables; [1:43] "All That Jazz" from Chicago; [2:03] "He Lives In You" from The Lion King; [2:19] "Popular" from Wicked; [2:43] gentle mockery of Spider-Man: Turn Off the Dark; [2:45] "Phantom of the Opera" from Phantom of the Opera; [3:10] "Hello!" from The Book of Mormon

written by: "Everyone's A Little Bit Racist" by Robert Lopez & Jeff Marx; "Sherry" by Bob Gaudio; "Belle" by Alan Menken, Howard Ashman, & Tim Rice; "Seasons of Love" by Jonathan Larson; "Master of the House" by Claude-Michel Schönberg, Alain Boublil, & Jean-Marc Natel; "All That Jazz" by John Kander & Fred Ebb; "He Lives In You" by Lebohang "Lebo M" Morake, Mark Mancina, & Jay Rifkin; "Popular" by Stephen Schwartz; "Phantom of the Opera" by Andrew Lloyd Webber, Charles Hart, Richard Stilgoe, & Mike Batt; "Hello!" by Trey Parker, Matt Stone, & Robert Lopez

arranged by: Layne Stein & Geoff Castellucci

release date: 17 September 2014

My favorite bits:

starting with just Geoff and Layne, then revealing the others by raising dropping the curtain

Puppets! And puppet violence!

Geoff lowkey doing the "Sherry" choreography from their boy bands medley, and Tony playing to the camera

Earl's adorable cartoon-y giggle

singing Belle's name on a bell chord, nice

getting double duty from the Book of Mormon by using it as Belle's ♫ "a-MAAA-zing" ♫ book

✨ ::jazz hands:: ✨

the sudden ~drama~ when they start "Phantom"

and the sudden lack of drama when they jump into "Hello!"

Layne's utter delight at getting to poke his finger through the doorbell drawing on the sign

the bloopers from Earl's outro spiel

Trivia:

○ Several of these songs have appeared in later VoicePlay videos:

Based on feedback to this video, they recorded a full version of "Phantom of the Opera" with Rachel Potter just over a year later.

They partnered with L.A.-based singer AJ Rafael for a beautiful rendition of "Seasons of Love" in early 2017.

"Popular" was, of course, included in their epic 2022 Wicked medley with Emoni WIlkins and Rachel Potter.

○ Friend and frequent collaborator Rachel Potter had understudied Glinda in the second national tour of Wicked.

○ They have since done a few collaborations with John Pinto Jr., a longtime cast member in The Book of Mormon both on Broadway and in the touring company.

○ This medley was included in their setlist for the 2015 Sing-Off tour.

○ The video got a nice feature article on Broadway World.

○ It also received several nice responses from friends and some of the shows.

[palmerasenfuego]

partial reading log, 2021

Great Expectations, Kathy Acker

The Oresteia, Aeschylus

Inferno, Dante Alighieri(!)

Poetics, Aristotle

Pride and Prejudice, Jane Austen(#)

Amiri Baraka poems

Nightwood, Djuna Barnes

Snow White, Donald Barthelme

Donald Barthelme stories

Mythologies, Roland Barthes

Samuel Beckett stories

The Secret Doctrine, Helena Blavatsky(#)

Bertolt Brecht essays

Lord Byron poems(!)

Lemuria: The Lost Continent of the Pacific, W.S. Cerve

Chariots of the Gods, Erich von Däniken

The Society of the Spectacle, Guy Debord(!)

Barbara Villiers, or, A History of Monetary Crimes, Alexander del Mar 

Relativity, Albert Einstein

Walt Disney: Hollywood’s Dark Prince, Marc Eliot(#)

The Epic of Gilgamesh (N.K. Sandars)

Black Skin, White Masks, Frantz Fanon

QED: The Strange Theory of Light and Matter, Richard Feynman

Escape from Freedom (selections), Erich Fromm

The Greek Myths, Robert Graves(*)

The New Pearl Harbor: Disturbing Questions about the Bush Administration and 9/11, David Ray Griffin

The Agony of Eros, Byung-Chul Han

A Brief History of Time, Stephen Hawking

Nathaniel Hawthorne stories(!)

Maria M., Gilbert Hernandez

How Should A Person Be, Sheila Heti(#)

A Delusion of Satan: The Full Story of the Salem Witch Trials, Frances Hill

I Ching(*)

Goodbye to Berlin, Christopher Isherwood

Kabbala: A Very Short Introduction, Dan Joseph

Dora Lives: The Authorized Story of Miki Dora, Drew Kampion

UFOs: Generals, Pilots, and Government Officials Go on the Record, Leslie Kean(#)

Gidget, Frederick Kohner

The Age of Spiritual Machines: When Computers Exceed Human intelligence, Ray Kurzweil(#)

The Death of Ahasuerus, Pär Lagerkvist

Barabbas,  Pär Lagerkvist

Malador, the Comte de Lautréamont

Steering the Craft: A 21st-Century Guide to Sailing the Sea of Story, Ursula K. Le Guin(#)

The Lichtenberg Figures, Ben Lerner(!)

Clarice Lispector stories

Terrorism and the Illuminati: A Three Thousand Year History, David Livingstone(*)

Federico García Lorca poems(!)

The Prince, Niccolò Machievelli(!)

Doctor Faustus, Christopher Marlowe

Dark Money, Jane Mayer(#)

Understanding Media: The Extensions of Man (selections), Marshall McLuhan

The Archaic Revival, Terence McKenna(*)

Paradise Lost, John Milton(!)

The Sailor Who Fell from Grace with the Sea, Yukio Mishima

The Confusions of Young Törless, Robert Musil

In the Devil’s Snare: The Salem Witchcraft Crisis of 1692, Mary Beth Norton

Dept. of Speculation, Jenny Offill

Fake Accounts, Lauren Oyler(#)

The Gnostic Gospels, Elaine Pagels

ABC of Reading, Ezra Pound

Selected Poems, Ezra Pound

Bleeding Edge, Thomas Pynchon

Gravity’s Rainbow, Thomas Pynchon(!)

V., Thomas Pynchon

Vineland, Thomas Pynchon

Gargantua and Pantagruel, François Rabelais(#)

Mumbo Jumbo, Ishmael Reed

Portnoy’s Complaint, Philip Roth

120 Days of Sodom, The Marquis de Sade(*)

Frankenstein, Mary Shelley(!)

Afghanistan: A Cultural History, St John Simpson

Science and Human Behavior, B.F. Skinner

Illness as Metaphor, Susan Sontag

Tender Buttons, Gertrude Stein

The Art of War, Sun Tzu

America’s Secret Establishment: An Introduction to the Order of Skull & Bones, Antony C. Sutton

Cold Fusion: The Secret Energy Revolution, Antony C. Sutton

Dylan Thomas poems

Dimensions: A Casebook of Alien Contact, Jacques Vallée

Candide, Voltaire

The 70 Greatest Conspiracies of All Time, Jonathan Vankin & John Whalen

The Occult: A History, Colin Wilson(*)

The Prize, Daniel Yergin(*)

Chess Story, Stefan Zweig

key: * = in progress, ! = reread, # = abandoned