Lynda was a dancer and I was an actor and we would have our very own “performance space” where we would live, eat lots of brown rice, wear lots of black clothes and collaborate on lots of dance-theater “pieces” so avant-garde they’d make the fillings fall out of your teeth. And, we would only rent our “space” to deserving artists who shared our dietary and fashion sense.
When I learned that in the early 20thcentury a nickelodeon theater had occupied the ground floor of our building, Lynda and I decided this was a good omen. We determined to collaborate on a dance-theater “piece” on the theme of avant-garde nickelodeons. We never did.
The lofts above the nickelodeon theater had been sweatshops. Our top-floor loft bore the scars of that period – a long row of side-by-side footprints worried into the floorboards by immigrant girls as they sat working their sewing machines. It was a haunting artifact. Lynda and I decided this was a good omen and determined to collaborate on a dance-theater “piece” on the theme of avant-garde sewing machines or footprints or something. We never did.
The New York summer of 1973, the summer of Carrie’s murder, simmered like every other New York summer – over-heated cabs, over-heated buses, over-heated subways, over-heated apartments, over-heated offices, over-heated people. Olga, the least talented of the untalented avant-garde actresses in our building, got very over-heated about a White hooker and her Black pimp who lived across the street. They looked like a super-hero team that had fallen on threadbare times. He squeezed his fat ass into gold-lamé hand-me-downs from Superfly while she favored silver-latex unitards. Unfortunately, the unitards did not favor her full-figured frame. This girl had been around the block several times. And, I don’t mean St. Mark’s Place. (I wouldn’t fuck her with your dick!) But, why/how this dumpy duo got on Olga’s untalented tits escaped me.