Police stare: Gazing with the power of Authority, the uniform, the club. And the judge, also a member of the Criminal Justice System. Caught between them is the quarry, trussed-up (handcuffed), not knowing the ropes, trusting in a stranger (lawyer), thus disarmed.

agnatic arc: "There are two types of enthroned male figures: one youthful and strong with an erect phallus, the other ancient and peaceful.... The first, brimming with virility, represents the revival of nature, the second symbolizes dying nature." M. Gimbutas, The Language of the Goddess. San Francisco, 1989.

Behind the smokehouse: J. Weishaus, "Becoming a Shaman."

Zurich Cafe: "We were like birds in cages surrounded by lions, wrote Hugo Ball, who, together with his life-long companion Emmy Hennings, began the dada show at the Cabaret Voltaire. The cannons could be heard not far from Zurich as the War thundered on. Lenin lived a few blocks away at the time, but is not recorded as having attended dada evenings." M. Taussig, "The Nervous System: Homesickness and Dada." Stanford Humanities Review #1 (1989). The Zurich Cafe, in turn, was located on Central Avenue, in Albuquerque's Nob Hill district.

Jean-Michel Basquiat:. "How did he come up with those words he puts all over everything? Their aggressively handmade look fits his peculiarly political sensibility. He seems to have become the gutter and his world view very much that of the downtrodden and dispossessed. Here the possession of almost anything of even marginal value becomes a token of corrupt materialism. This is the bum coveting a pair of Guston's shoes. When Jean-Michel writes in almost subliterate scrawl : Safe plush he think-- it is not on a Park Avenue facade that would be totally outside the beggar's venue but on a rusted-out door in a godforsaken neighborhood. Plush to whom safe from what?" R. Ricard, "The Radiant Child." Artforum. December, 1981.
   "Making it to (Basquiat) meant going down in history, ranked beside the Great White Fathers of Western painting in the eyes of the major critics, museum curators, and art historians who ultimately determine such things. What he got for his grasping for immortality from the gaping mouths of these godheads was a shitload of rejection, (mis)apprehension, and arcane or inconclusive interpretations." G. Tate, "Nobody Loves a Genius Child: Jean-Michel Basquiat, Flyboy in the Buttermilk." In, L. Warsh, editor, Jean-Michel Basquiat: The Notebooks. New York, 1993.

sniffing glue: "Believe us or not the art of glue sniffing has been around since long before glue was even made! But of course then it was hard to get a farmer to let you sniff the rump of a horse, believe you me! It is written in the Bible that many of the Apostles were heavy glue sniffers which led to it's early popularity until of course the glue famine of 0001. Until Columbus sailed the Atlantic in search of glue did he discover the new land. (Columbus was later jailed for selling illegal crack glue to gun toting school children) After the American Independence in 1776 it is said that Thomas Jefferson was high on glue sniffing when he wrote the Declaration. (Just watch 1776.) In the 1900's the famous glue company Elmer's was investigated for marketing glue to teens and claims that the glue was not addictive, which led to a shortage of glue sniffers and the result of marketing glue to glue stuff with, which was considered absurd at the time." National Glue Sniffers of America.

hieroglyphics: D. Ihde, Postphenomenology. Evanston, IL., 1993.

Vivienne Hermann: Interned in a Nazi death camp at the age of eight, she survived to become an art teacher in New York, and a sculptor whose work is in several major collections. Hermann moved to Albuquerque in 1982, where she died of cancer in 1994.

apple deaf: G. Corso From,  "Marriage."