Category Archives: Bogota

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“Definitely silver,” he rechecked through the past observing tool locally known as the chronovishmach. “So definitely George.”

—–

In the past, Hucka Doobie was eating alone. But in this alternate version she had the guts to walk up to Marion Star Harding and ask him on a date. Just after this she continued her guttiness and told Ozzie Osbourne, another star, that his gig was up in Gaston and that he’d have to return to Meat City for future concerts like these. Still on an adrenaline rush she goes back to Marion at the bar and gives him a kiss full on the lips, saying that’s to tide him over until tonight. Just arrived Ketchup Tom, aka The Musician (aka *George*) walks into the club, wanting to check everything out while Marsha was unloading the car, especially the structure of the place, trying to determine if his music would collapse it like before with that huge piece of coal for a bar in West Virginie. Hucka Doobie assured him that all had been prepared and that a non-collapsing spell had been cast by a local wizard. Club Rhino: definitely at a crossroads between various dimensions. Why Hucka Doobie was here in the first place, she finally determined after much lamenting and gnashing of teeth about her “entrapment” in Gaston. “Damn you Tammy Whatammy!” she cursed aloud a lot at first. “Damn you evil, conniving Casey One Hole!”, the root person to blame since Tammy was just following orders when she pushed her through that imprisoning collage back in photo-novel 7. Such a long time ago. She knew alternate versions of herself existed elsewhere. But she only existed within the body, the *vessel* of this here one. And she’s tired of complaining about the darkness. “When in Rome,” and so on.


“When in Rome” (2018)

And so in this version she dines and drinks with Marion Harding instead of doing so alone. And other things have changed: no “Welcome to Mimosa” on the sign, you’ll notice in comparing the last photo of this here blog post with the one above, anything that was once golden having been lost in the transition. Silver now. Night. Dark. Welcome to Gaston.

“We better get to the gig,” Marion requested after 2 wines, hoping to move to his more standard pot soon. Levon would have some, he knew. And Levon liked his music over his money, women, anything else. He’d be at the gig for sure.

“Oh,” said disappointed Hucka to this, wishing they’d just skip to whole gig thing and move on to that other stuff she had in mind. Bases, although obviously safe at home still — home base is definitely off limits tonight. But 1st, maybe 2nd? In play, she envisioned in her mind. Was she still desirable? she couldn’t help wondering as Marion got up and she followed suit and then looked at the back of his suit as it made pleasing motions while he walked toward the Rhino.

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light and shadow (The Z’s)

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Filed under **VIRTUAL SL, 0039, 0604, Bogota, collages 2d, Pennsylvania, Willow Hill

now

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sleepwalking

heading inside for more boos (part 2 I suppose)

—–

“We ended up at the exact same spot we began,” spoke Hucka D., suddenly finding herself back on the bed beside Barry. “Exactly the moment we decided to leave!”

Barry checked his pants but he was okay. This was no dream. Not really. Not any more than anything else they’ve experienced since this here photo-novel began, 37 in a series.

Then he forgot everything, the whole trip to Lordsburg/Shakespeare. It is as if the text at the bottom of the state never existed; no subtitles. Nor the top for that matter (Brilliant again). Only middle now. Barry DeBoy was on his own again, Hucka D. choosing not to take part in this reality. His mother as well. There was no reason for him to stay.

(to be continued)

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wet one

Barry DeBoy with his latest work: “Does This Look Square To You Too? (Cancan Girls)”.

“No mirroring involved,” he adds.

“Hmm.”

“Do your worst,” he says to observing Hucka D. on the bed. She dutifully begins.

“Irma was in mother Isadora’s shadow at the time, joined with her at the hip as it were.”

“As it is,” Barry DeBoy automatically inserts, but then remembers the year is 1923. 1923 1923, he ruminates. Where have I heard that before?

“Irma wanted out from the shadow but that would come later. For now, for *then*, they were the Cancan girls, twinned dancers in this provocative production.”

“You are soo good at this.”

“I know.”

“Let’s go back to the lounge and talk to Hal about all this.”

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Aztec warrior (photo by Barry DeBoy, present)

Actually, 10 + 11:

https://fredscruton.com/folios/lange/

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checking in with collage artist Barry Deboy (Mountainair)

I’m not sure what the new story will be but I’m pretty certain it will involve The Void, the place before birth, after death. The satchel contains secrets in its pages.

Nearby Baker Bloch stares into the water. Tough to tell if he is asleep or not. In a way he has to be — we all do. To even exist on this plain of reality. He dons the red cap of an artist again.

43 bucks should cover it for this wannabe cowboy of the plains.

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https://en.wikipedia.org/wiki/East_Lynne

The novel was first staged as Edith, or The Earl’s Daughter in New York in 1861[1] and under its own name on 26 January 1863 in Brooklyn; by March of that year, “three competing versions were drawing crowds to New York theaters.”[4] The most successful version was written by Clifton W. Tayleur for actress Lucille WESTERN, who was paid $350 a night for her performance as Isabel Vane.[4] Western starred in East Lynne for the next 10 years.[4] At least nine adaptations were made in all, not including plays such as The Marriage Bells that “used a different title for the sake of some copyright protection.”[5]

As the more melodramatic aspects of the story became dated, there were several parodies and burlesques made, including East Lynne in Bugville with Pearl White (1914), Mack Sennet’s East Lynne with Variations (1917), and in 1931 the comedy East Lynne on the WESTERN Front in which British soldiers fighting in the World War I stage a burlesqued version of the story.[2]

“Westeasterners (open the book (1931))”:

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Little Big: what happened

What happened, Little Big?

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Filed under **VIRTUAL SL, 0036, 0616, Bogota, collages 2d, Ebbert, Jeogeot, Kentucky, Middleton, Oklahoma, Towerboro

triptych interpretation 02 of 02

Hucka D.: In 4b, like we said before, the boy at the tree with the Tintown sign looks down at the missing letter, the missing Y that makes it Tinytown, which it is. I should also say that Tinytown no longer exists, another victim of the pandemic. Like Sissy’s most likely.

Baker B.: Good. Mortons Gap is emptying of meaning.

Hucka D.: I think you want to bring up the 2 PLACEs.

Baker B.: I think that’s taken care of in the text of the photo-novel before, Hucka D.

Hucka D.: 2 PLACEs at once (Hucka D. presses). This is another pointer leading to the triptych. It all leads there.

Baker B.: Okay, good.

“Adventures in Tintown Part 4b of Tin”

Hucka D.: 4b, then. The people with the narrow woman from 4a, most likely her family, have their faces covered by white ovals. To their right we have a ring of ghosts, also with oval white faces or heads. You made the association, thus the triptych continues to the right and not the left at first. You insert the smallest Tintown sign in the darkness behind the ghosts and the whited out face people (in 4a), a mother and her child perhaps. Maybe the narrow girl is the same woman’s daughter.

Baker B.: One of the faces is round and not ovoid. Can you comment on that?

Hucka D.: This is the middle of another simple 2 part collage that you prepared in anticipation of the triptych, although you didn’t know it at the time. The middle head becomes round, and with two oranges eyes, it appears. That’s about all I can say about it for now.

Baker B.: Thank you. Then moving on, we shift from Mortons Gap Kentucky to Tin Town Missouri, from a batch of old photos by, let me see, Russell Lee, who is famous for such things.

https://en.wikipedia.org/wiki/Russell_Lee_(photographer)

Hucka D.: Pie Town, New Mexico, I note in the article. Pietmond.

Baker B.: Right. Blast from the past.

Hucka D.: Lets move to 4c, the last panel which will bring us back to the first.

“Adventures in Tintown Part 4c of Tin”

Hucka D.: Selves, you’ll notice, in the collage, not Self. There is more that one Self. There are 3 in this collage, according to size. The second is 61/100ths the size of the first. The third and last is 61/100ths the size of the second. Although these 3 come in 5 bodies, there are only 3 heads, matching the 3 Selves. Two have been cut off. You sure that Shelley is okay? She’s very important.

Baker B.: I know — extraordinary. She’s okay.

Hucka D.: What are these Selves, then? You find them in Tin Town MO which originally was named Gold. Ronnie Self the rockabilly wannabe star who didn’t quite get there. But he lends his name to the Triptych. He too is part of this (process).

Baker B. (after a pause): The ratios seem important. If we assume a steady reduction, the first is 100, then the second is 61, then the 3rd would be 37.21 almost exactly (checks). No: *exactly*.

Hucka D.: Extraordinary.

Baker B.: Then the simple 2-n-1 collage Barry Deboy holds in the last post before you showed up for our interpretation, Hucka D. (Mortons Gap sign/ “Does this look square to you?”), is the last element inserted here, cutting off 2 of the 5 heads…

Hucka D.: But adding 2 of its own heads (nutcrackers on sign). One obviously truncated (pause). You sure?…

Baker B. (guessing what the bee-man was going to say): Yeah, she’s all right. Anything else?

Hucka D.: I was going to ask you the same thing. Oh — Bat Boy. Zebrasil. Very important. Only the ZE remains (in 4c). Flying toward the First, the largest Self, the most immediate. You.

Baker B.: Thank you, Hucka D. And we’ll work on…

Hucka D.: … Amagon, yes.

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