I had this idea for a kung fu cat movie, but it was like, all that writing and training rats and putting pants on cats and general doing stuff would be so exhausting, am I right?, so I just made a poster for it.
Los Angeles has a lot of medical marijuana dispensaries. There must be a lot of sick people in town.
Recently the City Attorney's office released a list of hundreds of pot stores that have to shut down. California voters approved medical marijuana sales a few years ago, the dispensaries grew like weeds (hydroponic weeds, even), and then the City Council freaked out a little. (The Councilors may have a panic or anxiety disorder; perhaps a cannibis sativa Rx might help?)
I took some pics of green cross stores near my house. I wanted to catch them before they disappear; also, there are a lot of them.
Frank Gehry
Makes buildings kind of scary.
He draws walls that curve;
That takes a lot of nerve.
Check out the Aleister Crowley entry at Wikipedia -- don't check it out if you're from a small Southern town that already ostracizes you for wearing black and being "weird" and might convict you of child murders "Paradise Lost"-style by using your reading choices as proof of your degeneracy -- but the rest of you, check it out and find out the secret to Fame!
I had read in some book or other that the most favourable name for becoming famous was one consisting of a dactyl followed by a spondee, as at the end of a hexameter: like Jeremy Taylor. Aleister Crowley fulfilled these conditions and Aleister is the Gaelic form of Alexander. To adopt it would satisfy my romantic ideals. The atrocious spelling A-L-E-I-S-T-E-R was suggested as the correct form by Cousin Gregor, who ought to have known better. In any case, A-L-A-I-S-D-A-I-R makes a very bad dactyl. For these reasons I saddled myself with my present nom-de-guerre—I can't say that I feel sure that I facilitated the process of becoming famous. I should doubtless have done so, whatever name I had chosen.So that's what I've been doing wrong -- no dactyl + nada spondee = total obscurity.
There was a Fergie song a few years back called "Glamorous" in which she spells the word glamorous and the refers to it as "the flossy". Perhaps this is her Gramma's friend Flossy, a hip elderly lady who wears bangles and bedazzled pants suits? Alas, no; flossy means "flashy, showy", as the Urban Dictionary will tell anyone who asks.
So Fergie tells us that her life appears flossy, but that she still eats at Taco Bell. She's a regular person with a seemingly glamorous job.
I watched two hours of the "Life" series on the Discovery Channel last night, and it made life in the wild seem extremely flossy. It was one stunning beauty shot after another of reptiles with Stretch Armstrong tongues, a female ostrich running (unsuccessfully) for her life, tiny frogs hurtling down cliffs, and fish, basilisks and Western Grebes dancing on water (not together, though they'd make a great inter-species dance company; probably get a lot of grants with that angle).
Anyone who's ever gone camping or walked within two hundred feet of a standing body of water swarming with mosquitoes can tell you that life is not flossy. "Life" is, but life isn't. It smells. It's dirty. It eats at Taco Bell. Anywhere there have been people -- and if you are there and if camera crews are there, then there have been other people there -- there are people-remnants, plastic wrappers or bits of toilet paper or initials inked on rocks or rock cairns or (and especially) footprints. To take pictures of the wild, you might have to frame out your Aunt Flossy (she booked the Alaska trip with you, of course; she collects pictures of wildlife and flirts with the young guides).
"Life" makes everything clean and precise. It's fascinating and informative and I very much enjoyed it, but it's also a Glamour Shots version of these creatures. They're wearing too much lipstick and posing with tilted heads in front of a pastel background, which is to say that the lighting is always very bright, the shots are very sharp, and the narrative is very clear. Nothing is chaotic or frightening or dull or matter-of-fact. Animals running for their lives look picturesque. You cannot feel the terror and the bursts of cortisone and smell the dust and sense the hot breath. The animals are presented in extreme closeups and in slow-mo. Slow-mo makes everyone look cool. It's the cheapest shortcut to glamour; it makes Steve Buscemi look like Steve McQueen. The whole thing is like the Wild West as interpreted by Sergio Leone: beautiful, visually and aurally precise and striking, and utterly untrue to life.
Amidst all the Oprah-narrated HD beauty, the most striking bits of the show are the few minutes at the end of the program when you see the crew on site shooting these incredible images. This is one scene: a cluster of cameramen perched for weeks next to a dusty, muddy waterhole where a poisoned water buffalo is mercilessly harassed by a pack of taunting Komodo Dragons. The cameramen stalk both the buffalo and the dragons; they stand and move the camera when the dragons run off. They watch the water buffalo get bitten by a Komodo Dragon, and they know what the buffalo does not; that he's been fatally poisoned and will linger for weeks. They settle down next to the Komodo dragons to watch him weaken and die.
I was looking through some old photos, and I noticed that I seem to have captured a shot of the Devil when I was in London.
Here he is, hanging out in a park.
If you are in London, don't worry; this was 2005, and he has probably hopped on by now.
Plus, you can always placate him by giving him a carrot. Remember: hold on to your soul; offer a carrot instead.
My old man and I took a trip to Paris, where it's a Euro here and two Euros there, and the next thing you know, you're broke. Also, it's easy to spot fellow Americans because 1) they are everywhere, and 2) they are wearing sneakers and shorts.
We walked all over town and cooled down with a three Euro icy fruit drink.
We drove down to Fountainebleau and jumped in the gardens.
We hung out at the Invalides with Napoleon's tomb.
We hid from the sun. It got pretty hot, and I'd like to point out that the Arc de Triomphe is not as close as it looks from the Louvre, and that once you finally get there, you will be mad at it.
We went shopping.
We ate Nutella, because it is freakishly ubiquitous and because it is delicious. We prudently bought only one Nutella crepe to share, then fought viciously over each bite.
We visited Notre Dame, where tourists like us stomped around during Mass and took video like it was a Tony Robbins appearance.
At Notre Dame, we contemplated being dragged off to Hell.
We visited the Louvre, where the Mona Lisa had her dance card filled. Also, the recent NY Times article that noted that people zoom through the Louvre taking pictures of the pictures without pausing to actually looking at the things in front of them is absolutely true. Are the museum shop postcards too expensive? Are people hoping to zoom in and study their favorite parts of, say, Mona's right shoulder? Is there a lot of wacky Hey, I'm attending the Wedding of Cana! photoshopping going on?
We saw statues wearing beards.
We saw terrifying mannequins.
Don't you want to visit the Palais de Justice? Aw, come on. No, you want to go to Sainte Chapelle? But the line is so long! Come to Palais de Justice? No?
The most awesome thing we did was to take advantage of Velib. This is a bike rental system with stations everywhere you turn in town -- you get a pass (which is a few Euros) with a number on it, type in your number and password at the station, select a bike, unlock it and away you go. The first 1/2 hr is free. The next 1/2 hr after that is 1 Euro. Each next 1/2 hr after that is 4 Euros or something. So you can't just take it out all day, or you will be money-sorry. But to hop from place to place, it is excellent and super-fun, especially since Paris has lots of marked bike lanes (as long as you don't mind sharing with buses) and even separate lanes in the islands in the middle or side of the street that are the most fun and excellent of all. The Paris drivers were generally patient and easy enough to drive with (at least compared to Boston, where I got my street-riding chops and were drivers are horrible evil demons).
Caveats about Velib:
(1) This is Very Important: North American credit cards will not work here on in the Metro stations!! They don't have whatever special stripe or code the French cards have. Also, there are No Other Alternative Places Anywhere to buy Velib passes. You have to get them at the little unmanned stations. After much confusions and searching, we finally found a tip on a blog that said someone's American Express card worked, and that's what worked for us. Otherwise, I think you can buy a pass ahead of time on the internet and have it mailed to you.
(2) The system only works if people continually take out and return the bikes. A number of times (e.g. at Notre Dame) we came to our destination and went to a station and could not drop off our bikes because the station was full. There is a map at each station showing you where nearby stops are, and you can type in your number to get an extra 15 minutes to use to go to the next stop. But sometimes it took quite a bit of searching to find open spaces.
(3) Check your bike before you take it out (tires, steering column, lock).
We went to Montmartre and walked in the cemetery, where we learned that even in death, the rich get fancier houses than the non-rich.
I went to the Musee d'Art Moderne and set up my camera on self-timer to take this shot. Then I picked up my stuff and wandered off,leaving the camera. I was two floors up sitting in a room entirely filled with Roald Dufy's magical mural when I reached for my camera and found it missing. Quelle suprise!
I hurried downstairs, where the lady guard came after me, clearly realizing that I was the idiot who lost her camera. I was also the idiot who failed to learn conversational French in my months of study prior to the trip, though I could read pretty well at the point. The lady guard for some reason insisted on speaking instead of typing at me. So I kept holding up my hands and clicking an imaginary camera and saying "photo apparail", which I was very proud of knowing, and she kept nodding and saying, "camera". She asked her friend guard where they took my camera, then kindly walked me to the elevator and told me to go to the fourth floor and... do...something.
So I went to the fourth floor and figured lost-and-found would be a the coat check. The coat check lady was nice enough but very confused as I kept saying "second floor downstairs" and "lady" and "camera" and mimed picture-taking and mimed putting my mime camera down and walking away from it because I could remember the word for "take" but not for "lost". What was the problem, lady? I thought you people loved Marcel Marceau! But she had no idea what I was doing.
So I thanked her and tried the ticket desk, where the ticket man knew English (score!) and knew exactly why I was there, but insisted on grilling me on the make and model of my camera. I think he was jerking me around. But he finally gave it to me and said, "so it wasn't stolen!" and I should've said "bon chance!" but I didn't think of that until later, darnit! So I just said "Merci beaucoup!" and ran out of that museum because I was all stressed out and I don't know how immigrants do it, it is freaking stressful to not know the language and feel so stupid.
I have to note that, in general, the Parisians we interacted with were very nice and pleasant and patient with us, that no one made fun of our bad French, that I successfully asked a book store guy, in French, if he had a book on birds and HE DID, that I also successfully bought four postcard stamps in French at a tabac despite mispronouncing "the United States" and "four", and that everyone was pretty much laid-back and friendly, and I live in LA so I know from laid-back and friendly. The bike system and the Metro are awesome and easy ways to get around. I definitely recommend studying up some French before you go, as it was a huge advantage to be able to read signs and things even if my speaking/listening skills were just above deaf/mute.
Good job, Paris. I'm glad you weren't blown up in 1945.
I recently visited Paris, where I ate lots of Nutella and, even more importantly, saw what I believe to be both the best and worst cat representations in the History of Art. (Or, the History of Art That I Have Seen. But let's not quibble.)
Veronese's sumptuous Wedding at Cana at the Louvre (which puts up a great fight across the room from that smug attention hog Mona Lisa), one of my all-time favorite pictures, features such a realistic cat that I can't help but tag Veronese as a cat lover. That cat is playing with that urn just like a cat would!
Meanwhile over at the Musee D'Orsay, Henri Rousseau's Madame M. poses with that hideous freak in the lower right. Forget Madame M's enormous hands and displaced shoulders -- what about that freaky kitty? And yet, as with all things Rousseau, it is an appealing and unforgettable freak, and points for the ball of string. He was playing with his ball of string, then looked up and saw a STARTLING TERROR!
Both master cats are in the lower right hand corner of their paintings; coincidence? Both are playing, attempting to destroy the string and urn (of the world? Of the Vatican?). The Madame extends all but her middle finger toward the cat. The water that has just been turned into wine at the feast is near the cat. Are these kittyphilic signs intentionally coded into the paintings by the painters? Could Veronese and Rousseau have been members of a secret pan-generational Opus Felis organization? Quick, call Dan Brown!!
See that first Google Ad that showed up (in the blue boxes on the right) on the BBC News home page today?
Why? What is so awful about becoming a Mormon that you need a special kit just to survive the first 72 hours?
How will a radio help you?
How much does it cost...your soul?
Always be prepared!
Rough night, Bully? Too much PBR and spare ribs? For heaven's sake, make yourself comfortable.
Look at the size of these things! Are these pastries or really ugly decorative pillows?
These are surely designed to tempt every diabetic giant in the land.
Starbucks, must I remind you that you sell $4 coffee? These ginormous, cold, dense, sticky-icing nightmares are the stuff of highway rest stops -- not the kind with the Subway in the corner, but the kind with lottery machines by the door and chili dogs cowering under the heat lamp.
Listen, Howard Schultz: Unless you plan to stick a bowl of beef jerky by the register, you'd better get fancy pastry to match your fancy coffee. Either that or lower the coffee to 50 cents and pass the bear claw.
Ok, now I'm just being annoying. I didn't want to be mucking around with Applescript at all, but Journler is so cool and so useful that I just can't help myself. With just a few little scripty tweaks, I'm able to use it as my dream PIM (that's a personal information manager for those of you who aren't annoying).
[p.s. Did you know that when you hover over the date of an entry in the browser list for a few seconds, the tip will show the amount of time that has elapsed since the date of the entry? So hover over 9/8/08 a few seconds, and underneath the tip showing "~ 8 months 4 weeks and 2 days ago". That is so cool! Make your savant computer slave calculate for you!]
Anyway, I used the script from my last post to import a bunch of iCal entries for meetings that I've had, each with one attached contact. In Journler, I needed to be able to see a list of all those meetings, see the date, see the topic of the meeting in the title, and also see the contacts so that I could see at a glance when I last saw who in comparison to everyone else. Because the contacts/resources have a many-to-one relationship to the entries, they aren't easily listed in the grid view. The entry Comments to the rescue!
This script makes a list of all the contacts names and copies it to the comments column, which can then be shows in the grid list and sorted on and so forth. Voila (hey, those French lessons are coming in handy, too).
All warnings apply; again, this was quick and dirty scripting.
-- place in ~/Library/Scripts/Journler
-- Copies selected entry's contact resources to comments
- Created by Courtney Lamb 6/7/09 (www.courtneylamb.com)
-- Use at your own risk!
tell application "Journler"
set theEntriesList to selected entries
repeat with theEntry in theEntriesList
set theNames to ""
repeat with theResource in resources of theEntry
if type of theResource is contact then
if theNames is not "" then
set theNames to theNames & ", " & name of theResource
else
set theNames to name of theResource
end if
end if
end repeat
set comments of theEntry to theNames
end repeat
end tell
I searched long and hard on the you-know-what to find some nerd who had already done what I needed to do -- "import" all of my iCal events in a certain Calendar into Journler as events, also attaching the iCal event attendee to the Journler entry as a Contacts resource.
Surely someone else had done this already! I don't have to muck around with programming/scripting anymore, do I? I don't have to learn AppleScript all of a sudden; I mean, I'm sick of this shit, we're supposed to have robot servants to do things like this for us by now!
So I had to be my own nerd, and if you are the me of yesterday and are looking for a script to do this, you are welcome. Just use it at your own risk because I learned as little about AppleScript as I possibly could in order to throw this together and resented it every step of the way and wasn't careful with error handling and all that mess.
But it totally works! As a reference, I converted 158 entries this way with no problem, took a few minutes. I knew my mysterious past in data conversion would pay off some day.
-- place in ~/Library/Scripts/Journler
-- Creates Journler entries from all iCal events in the calendar named "Journler Drop" (copy desired events here)
-- Sets a tag of "iCal" to the Journler entry
-- In addition, if there is an attendee on the iCal event (just the last attendee, if there are multiple), it attaches a Contacts Resource to the Journler entry
-- Created by Courtney Lamb 6/4/09 (www.courtneylamb.com)
-- Use at your own risk!
tell application "iCal"
tell calendar "Journler Drop"
set theCount to count of events
-- Loop through all of the iCal events in the given calendar
repeat with j from 1 to theCount
set theEvent to item j of events
set theSummary to summary of theEvent
set theDate to start date of theEvent
-- Put both the iCal description and location in the Journler notes
set theNotes to ""
set theLocation to ""
if exists (description of theEvent) then
set theNotes to description of theEvent
else
set theNotes to ""
end if
if exists (location of theEvent) then
set theLocation to location of theEvent
else
set theLocation to ""
end if
-- Get only the last of the attendees, if any
set theContactID to ""
if exists (the last attendee of theEvent) then
set theName to display name of the last attendee of theEvent
tell application "Address Book"
if exists (the first person whose organization = theName) then
set thePerson to (the first person whose organization = theName)
set theContactID to id of thePerson
else
set theContactID to ""
end if
end tell
end if
-- Create the Journler entry
set theNewTag to {"iCal"}
set theCategory to "Contacts"
tell application "Journler"
set anEntry to make new entry
set the name of anEntry to theSummary
set the date created of anEntry to theDate
set the tags of anEntry to theNewTag
set the category of anEntry to theCategory
set the rich text of anEntry to theLocation & "
" & theNotes
-- Create the attached Contact resource from the iCal attendee
if theContactID is not "" then
set aResource to make new resource with properties {owner:anEntry, type:contact, contact id:theContactID}
end if
end tell
end repeat
end tell
end tell
I'm lucky; I live in an awesome neighborhood. One of the awesome things about it is that my neighbors believe in the power of a cool car with a lot of personality. Look, the Stinger above is even winking at us. It knows how cool it is. (Note: I nicknamed it the Stinger all on my own. I don't know much about cars except that I find some of them to be cool.)
Check out my gallery of cool cars here:
Link to my Cool Cars: Culver City Photo Gallery
There might be a deep artistic meaning in this set-up, like an Ed and Nancy Keinholz-type of thing -- renewal! cycles! excrement! protection! cleansing! -- but it's more fun to imagine the awful toilet tragedy that could've led to this gruesome state of affairs.
Call the exhibit Home Repair: Destruction of the Past.
INJECTION! You haven't been kidnapped, Mr. Jones. You've been admitted for treatment.
[This is practically a shot-for-shot remake of the original INJECTION, but this one has been modernized in 21st century green]
