Thursday, September 9, 2010
“Damn,” she said, “Don, I can’t figure out just, just how to start doing this.”
Holly’s last words reverberated in my head. It was interesting seeing what she could and couldn’t do, what she did and what she didn’t, and when she did things. It WAS sortof a weird new thing, even for where I was now, “decades” after she’d actually said such things, I saw no evidence that anyone else had ever tried to do what she was doing… here where I was.
“I know I gotta do stuff like this,” she said “it just makes sense to make it seem more like I am actually there in the future, and by the way thanks for sending the letters in Don, mwa,” she mock kissed me. “Puff,” she puffed. I love it when you can hear that someone is smoking, over a phone… or the thing I had to listen to her on.
I was shooting Lydia, and I was hoping HVV could use this one. She wanted pictures that had a resonant quality.
“If you want to blow people’s minds, you have to have… there has to be a certain amount of familiarity or it won’t work… I think. What I am doing is about the past and the future… it just, I just want something THERE. Like — so I can totally make up things to go with these pictures and there will be a resonance to pick up on… the cool has to be believable, you know what I mean Don.”
“With an element of the actual past so obviously there in the pictures, it will be easier for the past to digest the imagery, and perhaps even believe what I write, as long as there is real energy in the shots… this should work.”
Since I probably wouldn’t see what she was going to do with these pictures till a while later, it really was hard for me to shoot for the years and years as I did… relatively blindly to the actual narrative that would emerge. We had to trust me. It was a zen photography experience. But, the basic reporting was all we cared about in the beginning anyway. Holly and I concentrated on that.
“Fuck I love you,” I said without thinking. She started laughing. Right after this.
Right now I was trying to concentrate on shooting Lydia, but as you can tell, it’s hard for me to focus. But really, this is a big big picture. Just knowing how to think about it is a difficult challenge. I don’t want to miss things, and there is no map. I listened to my friends that I made, and didn’t pay attention to any papers or other “media” as I have found the call electronic information/entertainment outlets.
Goddamn, look at those eyes. I want to kiss you now baby. I want to wipe that look off your face with my dick. That’s right, you are the first bi-era, double timing, living the vida LOCA superlife baby. You. You are a part of the real Marvel Universe. Sexy.
To quote my mind.
“Fuck I love you,” I said again, and she laughed again.
Even now, sometimes, Lydia made me think of Diane. I wish she could have seen this. She almost got to, she could have. We all could have had a big fucking laugh over this shit.
I loved Diane, she would have helped me with this writing...
Noone is writing this down but me, there is no way anyone would ever know this ever if I didn’t write this, and it is a strange thing to know. At any rate, this is the only account that the future will have of this. “The past will never know,” HVV said over and over. But the future would, I would think to myself at the same time. HVV never knew I was doing this.
She only knew I gave her exactly what she wanted like I was her herself.
“And this internet thing you told me about is very interesting. Data is totally doable then?”
Somehow, we could rig the machine we used to (among other things) transport me here to carry the data back to where HVV was. That’s the machine in the background of this picture. That’s Tigger James Ferguson, and Dirty Martini,
“Don, we are gonna tell the past that The Capitol is Coney Island, and that Tigger is Mayor of Coney Island.”
“Oh — and that Dirty Martini is a General.”
“Maybe others of these times,” (and HVV definitely meant both times — 1933 and TwoThousandThen) “think black politicians are radical… but till I see a man like this man Tigger you found, in office… I am not impressed.”
Me, when I saw this, I had to shoot it for HVV, it was just what she would think is funny. “We’ll tell the people that he’s at an art show, that will cover up the machine being there, hahah. Mayor Tigger James Ferguson and General Martini attend the exhibit by Donato Giancola at Richard J. Demato Fine Arts Gallery, hahaha. You would totally think that is an art gallery hahah.”
That was when I started to really catch on. What was the truth what was the past what was the future, what lies… could mean to history. It was really screwy, because it wasn’t a linear development with us. At all. Sometimes it felt like it was threatening to melt my brain like she said how porn from where I was now would melt people’s minds back then. But at least that could be understood far easier than the initial creation of such a machine as we were trying to make, just from pictures and text.
“They are going through the same things where you are now — as they were where I am! Where we were! They even talk about it [the past] — as a way to figure out what to do! Can you believe how lucky we are? That we have that to work with as a reality to show… to show that progress is an illusion.”
That was uncanny, that’s for sure.
“Progress is an illusion like a new suit of clothes is an illusion, I just bet your ass, Don.” HVV knew that, knew that before history would prove her right decades later during times no one could have imagined.
Look, people still had horseracing!
And guys like John Velazquez.
HVV loved my horseracing/jockey coverage… which in itself was actually super ahead of it’s time…
“It hasn’t changed at all,” HVV said, looking stunned at the first of the racing pictures I showed her. "Shit, look at that!"
“Look I know and trust you Don, but seriously, that horseracing still exists and that it still looks so the same, and that — look, you have to start covering these guys, now, I mean I never saw that as happening, and we can totally use these pictures because they are so close to both eras. So close. Perfect. What’s this guy’s name?”
“John Velazquez,” I said.
She’d have no idea why I did not sound as excited as she did… HVV knew all about Lydia, but she had no idea I had been shooting the tracks for a couple of years already… and the track stuff as I’d shot I just knew after awhile that that is just what she wanted me to do. I actually did take this relatively seriously, almost as a battle, and this is the kindof thing that the leader would want to know.
“He doesn’t know anything about this right?”
“Fucking, oh Don, people would totally relate to this shit right now!”
“Yeah, I uh, I really thought you would like these… since we didn’t talk about it ever… you know, but then one day I saw an ad in the paper and it stopped me in my tracks. You know what it was like when I just got over into T3…” Nothing looked familiar.
“Haha 1933 was the racing year for news too we got a bump from the fight — hahah, Don.”
When I asked her how she thought that 1933 was the best year for doing what she wanted to do, she told me that a superficial change, like the one she imagined would happen — “if in fact change happened at all” — would not stop what she thought would happen, judging by the way people were.
She wasn’t answering my question hahah.
In the end, she found the machine in 1933. That just happened, and we got lucky. The genius year she chose to send me to, was TwoTousandThen. Where another depression was happening! And that wasn’t all. I haven’t asked her how she came to that year, I am not sure I could understand, and I am not sure HVV does either.
“Timing is so everything.” That was her version of religion, time. She followed it, she worshipped it — “You don’t call yourself lensjockey if you don’t feel time and timing, pace, making time-based decisions on the fly.”
Anyway, it was too bad for me that Johnny looked just like then.
Horseracing indeed was one thing that I found that just had not really changed. In fact, the only real action in that scene (after decades) was happening now… of course. It wasn’t doing too good, I’m not saying it was doing good, but it was still around.
The few times HVV asked me for some special image, say, a composite, she gave me such great direction the results were stunning. The first one she wanted was of a horserace running out of a cemetery.
“Hahahah, I doubt that many people in 1933 could comfortably deal with horseracing in cemeteries. See if you can give me something — people will think the world just went to SHIT.”
And she was right. I even sent images of composites I’d made with tape… and people reacted to them in even stranger manner.
Tape itself had only recently been invented in 1933, I found that funny…
That "The Woodlawn Invitational Cup" was the first feature story she published under the “operation.” That story broke from the gate like a winner, and caused a commotion for months. She just had a really good way of putting things together… I bet she had fun writing that.
"...disgusting, sick, crazy."
That was what people really said about these pictures in T3 — imagine what they would say in 1933, I couldn’t really finish imagining… somewhere along the line the concepts would all bottleneck and my thoughts would jam entirely.
We never had time to talk about what she was doing after I came here to T3. But somehow, we had such a rapport, a creative understanding that I could think for her here sometimes. This picture I sent along with “The Woodlawn Invitational Cup” images. I thought she’d weave that into some spell.
“Thanks Don! That will look great in black and white, Lydia’s ass, totally pops. You are a genius matching that stonework, hahah from such different locations, and the lighting is perfect! Shit!”
Looking at her ass, made me think of John Velazquez.
Because I had just found out recently that they had been having an affair. And I still had to shoot him at the tracks. Now especially. I didn’t bother telling HVV what had happened, I showed her the racing stuff and that was my responsibility, but I couldn’t figure out how to deal with it yet myself. This shit me and HVV and Lydia were doing was too important to fuck up with emotional shit… but it was gonna drive me crazy.
He knew I knew, but he didn’t know why I wasn’t doing anything and mistook that for me being an idiot — the smiles I'd started getting in the shots could just be mistaken for sportsmen courtesy, but they weren’t. I’d started getting these looks from the jocks that were different…
I believe it flew around like gossip does, and then I think, well, now I think, I think quite a few people know. I think Calvin knows, and Edgar…
shit. Things started to make more sense…
Shit, I don’t know what to do. This is not what I need… and it didn’t seem like Lydia really knew what kind of guys these jocks were, but it doesn’t matter why it happened, only that I know it has and all of this together would make anyone’s head fucking spin.
But I’m a patient guy.
TO BE CONTINUED.
NOTE! THIS IS A COMPLETELY FICTIONAL ACCOUNT USING THE REAL PEOPLE I HAVE PHOTOGRAPHED IN AND AROUND NEW YORK CITY FOR YEARS. IT IN NO WAY REFLECTS REALITY!
here are the other episodes sofar:
episode 1) — http://lensjockey.blogspot.com/2010/08/cleavage-pets-nyc-reality-noir.html
episode 3) — http://lensjockey.blogspot.com/2010/09/cleavage-pets-nyc-reality-noir-episode.html
episode 4) — http://lensjockey.blogspot.com/2010/10/cleavage-pets-nyc-reality-noir-episode.html