6/26/09
Part 1.
In the brick amigo streets of central Queens, New York, I was riding a skateboard around. Latino men in white tank tops were walking about with their small flocks of children, who rode primary-colored plastic tricycles. I was fleeing urgently from Felicia A-’s mother, cannoning for me in her maroon Subaru Outback. As I raced around corners and down streets, criss-crossing and otherwise trying to lose the vehicle and its raging lesbian pilot, I recall looking over my shoulder frequently, only to see the Outback careening around a corner. Luckily I was always able to outskate the goddamn evil thing! A general feeling of terror and anxiety.
To better streamline myself and increase my speed, I sat down on the board and rode it like a toboggan. Then, the flat, drab suburbs of central Queens snapped into a commercial district that resembled a baroque hybrid of Dickensian London and Disneyland. The streets were winding, rolling, lined with cobblestone and flanked by quaint shoppes with colorful, dimensional signs. Like, the signs weren’t just flat billboards with words, but instead had depth and personality of their own: words with carnivalesque, curlicue fonts -- candy canes and rainbows, everything nice.
I continue to cruise, to luge down side streets and darker foreboding alleys, until I duck into an FAO-Schwarz toy store. One of the first things I notice in the store is a gigantic spiral slide, reaching from the top of the store to the main level. Smooth and silver and sparkling, it consumes most of the store in its immensity. Otherwise, the individual floors of the store have uncomfortably low ceilings, and as I step into an elevator to ascend to the top, I meet Tom O’Connell and his mother in the elevator.
At some point I mount the Wonka-esque silver slide, surfing down in an affected slowness, observing that the store is far smaller than I imagined, and that there are no toys on the shelves! Just a glitzy slide to the empty bottom.
I keep riding down on my skateboard, making an elaborate and slow show with flirtatious hand gestures and looks to no one in particular. I was playing the male nymphet, possibly . Somehow I capture the attention of Rufus Wainwright, who afterwards comes on to me in a most vulgar and suggestive manner, although I cannot recall any particular thing. I confess to him that I am neither gay nor attracted to him, and apologize for teasing; it was a cruel misuse of my alluring power.
Outside, behind a 7-11, I meet my sister Kim and tell her what I've been through so far. I spit vigorously on the near wall for some reason, probably in disgust with the whole experience.
Part 2.
Will Smith - as the Fresh Prince - and Carlton are having a conversation. If you have ever seen the movie Watchmen (re: Doctor Manhattan materializing out of the atmosphere), or the uncut music video for Robbie William’s “Rock DJ,” you know what I mean when I say that Carlton starts out as a mere skeleton, and the fibers of his organs and skin gradually materialize until he is a full, flesh and blood human. Notably, I see much of his face during this construction process, the sinews of his muscles twitching as he talks until he grows some layers of skin. The composition of his face, however, skin tone and facial hair, never stops shifting in both color and consistency. The two jabber on about something, of which Carlton has a vested interest in making his case.
<to see what I am talking about, watch the music vid @ 2:53
http://www.youtube.com/watch?v=TGelsMOIJZY>
< or this should give you an idea of what I mean:
except happening in reverse, from bones to skin>
At the end, Will Smith talks about fate, and how all events and circumstances work to come together under some grand design. I wonder if he was referring to the process by which I reunited with my sister.
The scene changes to a black screen with a white, cartoon sheep falling down a short set of stairs with a blue banister, and when he finally makes his final tumble onto the floor, he emits an excited word bubble saying "eek!" It must have been an allegory for fate, though I have not yet considered how.
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