CALL GIG
Audio Transcript:
"Good evening, NPR listeners and Welcome. This is Luella Lubricity for 'Art Corner'. Tonight we are joined by art critic at large, Thurgood Muldoon Arachnid III who has just perused an exhibit of local talent in a pop up gallery in the dicey Tenderloin District of San Francisco. How was the show?"
"Thank you, Luella. Though the locale was a challenge, I found the exhibit quite exhilarating."
"Was there any particular artist that stuck with you?"
"Luella, all the artists and their work were interesting and original though, I must say, one particular painting titled 'House Call' I found to be especially uplifting."
"Please, fill us in."
"'House Call', depicting a Lady of the Evening entering an apartment building through the garage offers an intriguing menu of image, color and symbolism. The apartment building that climbs a hill is down right phallic with its turgid perspective and taught, translucent, condom white wash over titanium white cement bricks. In contrast, the bleached, foaming, greenery in a cement planter on the sidewalk gushes down toward the prostitute whose head, an often unnecessary appendage in her profession is blocked by the lowering garage door. The only warmth in the painting is the reflecting afternoon light that, with a liberal dose of cadmium scarlet and cadmium yellow caresses her arms, teasingly tickles the tops of her breasts, and, catches her burning red mini skirt on fire as it frantically laps at her legs. Ahem. Oh my goodness. Oh dear."
"Are you alright, Mr. Arachnid? Can I get you anything?"
"I'm fine. I'm fine. Goodness gracious, excuse me."
"That's quite alright, Mr. Arachnid. Please continue."
"Yes, yes. Of course. Where was I? Oh yes. These taunting images the artist toys with are contrasted by the flat, oppressive cobalt blue sky and the threatening prussian blue, phthalo green shadows in the garage that respectively suffocate the prostitute's least aspirations and beckon her to a life of violence, addiction and disease. Finally, the tiny, doll like purse dangling from the call 'girl’s' hand frames her for what she really is, a beautiful child devoured by a heartless world."
"A very sad story, indeed, Mr Arachnid."
"Indeed, but all judgment aside and a short, brutal future notwithstanding, you have to admire the 'working girl' in the artist's image."
"Admire her for what, Mr. Arachnid?"
"For working, Luella, of course."
"You mean rather than lounging around on public entitlements?"
"Exactly. In a way, the prostitute shows us how the wonderful twenty first century Sharing Economy works. People no longer have to live the dreary nine to five life or, God forbid feed from the public trough. They can do what ever they want, make their own hours, live their own life on their own terms."
"In other words, Mr. Arachnid, the prostitute shares what she has."
"Indeed, Luella, what God has given her."
"And her clients share what they have."
"And perhaps the best part of the bargain, Luella is that intrusive government doesn't get in the way."
"As long as the police aren't aware of her version of the Gig Economy."
(laughter)
"Luella, if entrepreneurs can disrupt their way around big government intrusions into the Free Market like Medicare and Social Security and pensions and overtime and workman's comp, they can work their way around prudish anti prostitution laws."
"And offer another example of the twenty first century Free Market economy with all the convenience of modern technology, a 'call girl' app if you will."
"Afternoon delight only a click away."
(Laughter)
"You know, Mr. Arachnid, it's almost as though the prostitute is an example for the way forward."
"She is not only an example, Luella, she is an inspiration, an inspiration for us all by showing us that the American Dream is alive and well."
"Thank you, Mr. Arachnid, and thank you listeners. Be sure to tune in next week to "Art Corner'. This is Louella Lubricity for NPR."
Copyright 2015
Richard Talbot Hill
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