Herko ‘danced to the beat of his own drum’ in a manner that was anything but cliche. Muñoz posits that Herko’s sometimes ironically flamboyant movement, politics, and presentation of self was ‘out’ of the norm of general tempo and style. This “surplus of queer potentiality” is explored as a contrast to the Western idea of death as “the end of potentiality”. Perhaps Herko’s final leap out the window ‘added value’ to queer culture, leaving traces of his “inscrutable aura” for queer culture to eternally ponder and appreciate. Herko appropriated surplus in an anti-capitalist fashion, calling for life that is not-here-yet.