This book was Jason Smith’s idea. I owe much gratitude also to my agent, Susan Golomb, and my editor, Nan Graham; to Claire Gutierrez at the New York Times Magazine, whose feedback I’d like to think has made me a better writer, and the same goes for the editorial guidance of Artforum’s Elizabeth Schambelan. I thank David Velasco, Michael Miller, Hedi El Kholti, Nicole Rudick, Scott Rothkopf, Eric Banks, and all the editors I worked with on these essays; and Katie Monaghan, Roz Lippel, Tamar McCollum, Sabrina Pyun, Katie Rizzo, and everyone at Scribner. James Lickwar vetted and confirmed details about the Cabo 1000 and the year we rode in it. Emily Goldman did the same for the title essay, pertaining to our SF. Benjamin Weissman brought me to Los Angeles to read “Girl on a Motorcycle” when I was unpublished, unproven, unknown. Ayelet Waldman, Michael Chabon, and Moriel Rothman-Zecher brought me to Palestine. Thomas Demand and Alexander Kluge brought me to Venice. Armand Powell Croft III brought me to Oktoberfest, and it wasn’t fun at all but I thank him for a lifetime of friendship and for helping me buy my first motorcycle. Gale Harold and Chris Beach confirmed details of our time working for Bill Graham Presents. Anna Moï unknotted debates of place name and family name that are misunderstood even by the French. Daniele Balicco and Maria Teresa Carbone, Jasper Bernes and Joshua Clover, gave me occasions for eulogizing Nanni Balestrini. I thank Alex Brown’s family, his friends, and his band Gorilla Biscuits for keeping his memory alive, and Alexander Ross for verifying details. I thank Hiba Nababta and the late Baha Nababta for their hospitality and kindness, and Craig and Ruthie Gilmore for theirs. “The Hard Crowd” was originally the title of an essay I wrote for Richard Prince; it has transformed into a different thing, but in spirit Richard is still there. Lastly, I thank Cynthia Mitchell for verifying everything including the noumenon, and Remy Kushner for his wisdom and good humor.