[8] I.e.: psylocibin; Happy Patchesa; MDMA/Xstasy (bad news, though, X); various low-tech manipulations of the benzene-ring in methoxy-class psychedelics, usually home-makable; synthetic dickies like MMDA, DMA, DMMM, 2CB, para-DOT I–VI, etc. — though note this class doesn’t and shouldn’t include CNS-rattlers like STP, DOM, the long-infamous West-U.S.-Coast ‘Grievous Bodily Harm’ (gamma hydroxybutyric acid), LSD-25 or -32, or DMZ/M.P. Enthusiasm for this stuff seems independent of neurologic type.
a. Homemade transdermals, usually MDMA or Muscimole, with DDMS or the over-counter-available DMSO as the transdermal carrier.
[9] A.k.a. LSD-25, often with a slight ‘drine kicker added, called ‘Black Star’ because in metro Boston the available acid usually comes on chip-sized squares of thin cardboard with a black stencilled star on them, all from a certain shadowy node of supply down in New Bedford. All acid and Grievous Bodily Harm, like cocaine and heroin, come into Boston mostly from New Bedford MA, which in turn gets most of its supply from Bridgeport CT, which is the true lower intestine of North America, Bridgeport, be advised, if you’ve never been through there.
[10] Like most sports academies, E.T.A. maintains the gentle fiction that 100 % of its students are enrolled at their own ambitious volition and not that of, say for instance, their parents, some of whom (tennis-parents, like the stage-mothers of Hollywood legend) are bad news indeed.
[11] An involved Arab women’s game involving little shells and a quilted gameboard — rather like mah jongg without rules, by the diplomatic and medical husbands’ estimate.
[12] Meperedine hydrochloride and pentazocine hydrochloride, Schedule C–II and C–IVa narcotic analgesics, respectively, both from the good folks over at Sanofi Winthrop Pharm-Labs, Inc.
a. Following the Continental Controlled Substance Act of Y.T.M.P., O.N.A.N.D.E.A.’s hierarchy of analgesics/antipyretics/anxiolytics establishes drug-classes of Category-II through Category-VI, with C–II’s (e.g. Dilaudid, Demerol) being judged the heaviest w/r/t dependence and possible abuse, down to C–VTs that are about as potent as a kiss on the forehead from Mom.
[13] Though masked in the evidentiary photo and never once given up or named by Gately to anyone, this can be presumed to have been one Trent (‘Quo Vadis’) Kite, Gately’s old and once-gifted friend from his Beverly MA childhood.
[14] This A.D.A.’s little personal trademark was that he always wore an anachronistic but quality Stetson-brand businessman’s hat with a decorative feather in the band, and frequently touched or played with the hat in tense situations.
[15] The Bureau of Alcohol/Tobacco/Firearms, at that time under the temporary aegis of the United States Office of Unspecified Services.
[16] Extremely unpleasant Québecois-insurgents-and-cartridge-related subsequent developments make it clear that this was (again) Trent (‘Quo Vadis’) Kite.
[17] The codeineless kind, though — almost the first physical datum Gately took in in the nasty flashbulb-flash shock of the occupied bedroom’s light coming on, to give you an idea of an oral-narcotics man’s depth of psychic investment.
[18] On top of the seascape safe’s more negotiable contents, themselves on top of an unplugged and head-parked and absolutely top-hole genuine InterLace state-of-the-art TP/viewer ensemble in a multishelved hardwood rollable like entertainment-system-console thing, with a cartridge-dock and double-head drive in a compartment underneath with doors with classy little brass maple-leaf knob things and several shelves crammed tight with upscale arty-looking film cartridges, which latter Don Gately’s colleague just about drooled all over the parquet flooring at the potential discriminating-type-fence-value of, potentially, if they were rare or celluloid-transferred or not available on the InterLace Dissemination Grid.
[19] ‘Une Personne de I’Importance Terrible,’ presumably.
[20] Fluorescence has been banned in Quebec, as have computerized telephone solicitations, the little ad-cards that fall out of magazines and have to be looked at to be picked up and thrown in the trash, and the mention of any religious holiday whatsoever to sell any sort of product or service, is just one reason why his volunteering to come live down here was selfless.
[21] Q.v. Note 211 sub.
[22] Trade name of terfenadine, Marion Merrell Dow Pharmaceuticals, the tactical nuclear weapon of nondrowsy antihistamines and mucoidal desiccators.
[23] Office of Naval Research, U.S.D.D.
[24] JAMES O. INCANDENZA: A FILMOGRAPHY3
The following listing is as complete as we are able to make it. Because the twelve years of Incandenza’s directorial activity also coincided with large shifts in film venue — from public art cinemas, to VCR-capable magnetic recordings, to InterLace TelEntertainment laser dissemination and reviewable storage disk laser cartridges — and because Incandenza’s output itself comprises industrial, documentary, conceptual, advertorial, technical, parodic, dramatic noncommercial, nondramatic (‘anti-confluential’) noncommercial, nondramatic commercial, and dramatic commercial works, this filmmaker’s career presents substantive archival challenges. These challenges are also compounded by the facts that, first, for conceptual reasons, Incandenza eschewed both L. of C. registration and formal dating until the advent of Subsidized Time, secondly, that his output increased steadily until during the last years of his life Incandenza often had several works in production at the same time, thirdly, that his production company was privately owned and underwent at least four different changes of corporate name, and lastly that certain of his high-conceptual projects’ agendas required that they be titled and subjected to critique but never filmed, making their status as film subject to controversy.
Accordingly, though the works are here listed in what is considered by archivists to be their
a. From Comstock, Posner, and Duquette, The Laughing Pathologists: Exemplary Works of the Anticonfluential Après Garde: Some Analyses of the Movement Toward Stasis in North American Conceptual Film (w/ Beth B., Vivienne Dick, James O. Incandenza, Vigdis Simpson, E. and K. Snow).’ ONANite Film and Cartridge Studies Annual, vol. 8, nos. 1–3 (Year of D.P. from the A.H.), pp. 44-117.
probable order of completion, we wish to say that the list’s order and completeness are, at this point in time, not definitive.
Each work’s title is followed: by either its year of completion, or by ‘B.S.,’ designating undated completion before Subsidization; by the production company; by the major players, if credited; by the storage medium’s (‘film’ ‘s) gauge or gauges; by the length of the work to the nearest minute; by an indication of whether the work is in black and white or color or both; by an indication of whether the film is silent or in sound or both; by (if possible) a brief synopsis or critical overview; and by an indication of whether the work is mediated by celluloid film, magnetic video, Interlace Spontaneous Dissemination, TP-compatible InterLace cartridge, or privately distributed by Incandenza’s own company(ies). The designation UNRELEASED is used for those works which never saw distribution and are now publicly unavailable or lost.