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flickr new york san francisco the ancient past

Thanksgiving remix

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Thanks­giv­ing 2006 came and went, attend­ed by friends, fam­i­ly and the cus­tom­ary dra­mas. An East Coast / West Coast feud flared up in the week before the hol­i­day. Gabriel (East) sent what some in the West per­ceived as "a sal­vo across the bow" in the form of a Pow­er­Point pre­sen­ta­tion (a slide of which is pic­tured below). It con­tained a finan­cial-style analy­sis of Thanks­giv­ing: how Thanks­giv­ing East has per­formed over the past decade, trends, pro­jec­tions, and out­lines for future growth. Some saw this as evi­dence of a dia­bol­i­cal plan; I was naive and asked for clar­i­fi­ca­tion on specifics:

Dear Gabe, TYs (Thanks­giv­ing years) 2003–2004 were char­ac­ter­ized by broad guest sec­tor diver­si­fi­ca­tion. What is the like­li­hood that a diver­si­fied strat­e­gy, with expo­sure to the Shana­han sec­tor, for exam­ple, will be pur­sued in the future? Sec­ond­ly, to what extent will "val­ue" guests (e.g., McClo­rys and Preslers) con­tin­ue to anchor the port­fo­lio? Will you pur­sue more (poten­tial­ly) volatile "growth" guests in order to boost per­for­mance in the com­ing years? 

Gabe replied:

Gabe's projection infographic

Like oth­er mis­sion-relat­ed offer­ings, we believe that diver­si­fi­ca­tion is impor­tant for ensur­ing steady, depend­able per­for­mance in any envi­ron­ment to pro­tect against sec­tor-spe­cif­ic risk. But our com­mit­ment to diver­si­fi­ca­tion goes beyond our con­cern for the bot­tom line: indeed, we believe that it reflects our group's core mis­sion. We are con­vinved that when we serve a broad range of atten­dants and when our offer­ings range across the geo­graph­ic and social spec­trum, our Thanks­giv­ing is ulti­mate­ly stronger.I want to empha­size that we con­sid­er all of our par­tic­i­pants "core" can­di­dates. Alas, our com­mit­ment to value–illustrated by our proven track record of offer­ing Thanks­giv­ing at a deep dis­count to its intrin­sic value–means that we are not always able to serve as broad a con­stituen­cy as we would like. For exam­ple, many of our sought-after par­tic­i­pants fall out­side of our geo­graph­ic uni­verse; we are par­tic­u­lar­ly inter­est­ed in oppor­tu­ni­ties in California. 

Need­less to say, this kind of talk elicit­ed skep­ti­cism and cries of region­al pride among the West Coast­ers, feel­ings which became even more acute when addi­tion­al news arrived: The East Coast guest list had grown so large, so ginor­mous, that the hosts scram­bled to find larg­er accom­mo­da­tions for their dinner. 

Now [East Coast Thank­giv­ing] reports that their 2006 expan­sion plan has been so suc­cess­ful that they're relo­cat­ing to a BAR for their fes­tiv­i­ties. clear­ly the bar has been raised. are we going to let presler corp. out­do us at what we do best? we have to ral­ly around the turkey and show the east coast who rules this holiday.

Would cool­er heads pre­vail? Some West Coast­ers called for "focus."

i hate to say it, but this whole thing reeks of a ploy to take us off our game. start chas­ing the presler-yamadas with this whole thanks­giv­ing at the bar thing, and next thing you know you'll be doing blow off some stranger's anato­my at 5am while real­iz­ing that you for­got to even *buy* a turkey. we have to stick to what got us here. the fun­da­men­tals and an easy-going atti­tude that there's no rea­son to get stressed out because our moms are at least like a thou­sand miles away … focus, people.

Laying on of hands

Of course, Thanks­giv­ings of yore were char­ac­ter­ized by spon­tanae­ity that often resem­bled chaos. (See right. More here.). To this end, there were appeals to pull together: 

If Robert Alt­man taught us any­thing it's that great works of art are NOT cre­at­ed with scripts, busi­ness plans or Pow­er­Point pre­sen­ta­tions. We will hon­or his tra­di­tion and fol­low our usu­al free-flow­ing, impro­vised pat­tern. We will cre­ate a rich­ly lay­ered Thanks­giv­ing that will touch on all of the major themes of mod­ern life in a heart­break­ing, at times com­i­cal, at times vio­lent, but always inci­sive way. Like Alt­man, we are not afraid of fail­ure. How­ev­er, it's also true that some great works of art were cre­at­ed with blow (John Belushi, the DeLore­an, Dwight Gooden) …

In the end, there was focus and togeth­er­ness on the West Coast, and, by all accounts, steady growth with div­i­dends in the East. A wise man once said: "Let love rule." It shall.

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baseball flickr

Baseball / Bonds, 731

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After all my trash talk about Bonds and how he should just fess up to the roids, I saw him hit a dinger last Sat­ur­day, and I actu­al­ly cheered. Like, I stood up as it left the bat, and maybe even jumped in the air when it went out, all the while clap­ping my hands. It was irre­sistible. He hit the thing a mile. It was awesome.

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flickr music san francisco street art visual

Music / Peggy Honeywell at Mollusk

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Being car-less keeps me (most­ly) around the south­east­ern neigh­bor­hoods of San Fran­cis­co, but every once in a while I'll ven­ture out to the fron­tiers. Last Fri­day, we went out to Mol­lusk, the arty surf shop on 46th-ish Avenue and Irv­ing, (i.e. WAY Out­er Sun­set), for an art open­ing and a per­for­mance by Peg­gy Hon­ey­well, i.e. local art star and beau­ti­ful los­er Clare Rojas. The surf shop set­ting was infor­mal and cozy; the acoustics actu­al­ly weren't bad; there were dogs walk­ing around; all in all, it makes me wish that I got out there more. This inti­mate set­ting was lots bet­ter than the cav­ernous, loud, obnox­ious-peo­ple-filled place I saw her per­form last, Bar­ry McGee's open­ing in Mel­bourne, Aus­tralia a cou­ple of years ago.

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ecology flickr outdoors

Food / Lakes and cheeseburgers along the PCT

Lakes and cheeseburgers in Oregon
Lakes and cheeseburgers - California

Dur­ing my hike on the PCT in 2001, my two favorite pas­times were swim­ming and eat­ing. When I was walk­ing — which was most of the time — cool swim­ming holes and siz­zling cheese­burg­ers filled my day­dreams. When my hik­ing part­ner, Nick, and I talked, it was more often than not about swim­ming and eat­ing cheese­burg­ers: How far to the next riv­er, creek or lake? How long would it take to hitch out to get a cheese­burg­er at the next road crossing?As the two attached lists indi­cate, we found lots of chances to fol­low these par­tic­u­lar­ly bliss­ful pas­times. Cheese­burg­er-wise, the best were found in the Cheese­burg­er Belt, which begins as the Sier­ras give way to the Cas­cades in north­ern Cal­i­for­nia, and ends a lit­tle north of Ash­land, Ore­gon. The best of the best in the belt were found at Buck's Lake Lodge near Quin­cy, the Pines Frosty in Chester (which also has kick-ass shakes), and Lake of the Woods Resort north of Ash­land. At the bot­tom of the list was Belden Town, which shouldn't real­ly be sur­pris­ing since they don't seem to like hik­ers too much anyway.The best of the swim­ming was between in north­ern Cal­i­for­nia, between Sier­ra City and Etna. The Mid­dle Fork of the Feath­er (pic­tured below) was spec­tac­u­lar, though Nick pre­ferred Squaw Val­ley Creek, which he found a lit­tle cozi­er.

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Categories
ecology flickr outdoors

Personal history / Pacific Crest Trail five years later

PCT diary entry - August 10, 2001

Five years ago today, I was hik­ing on the Pacif­ic Crest Trail. I spent the sum­mer of 2001 hik­ing through Cal­i­for­nia, Ore­gon, and Wash­ing­ton; on the 12th of August, I was chill­ing out at Crater Lake, Ore­gon. Crater Lake had been a real­ly major des­ti­na­tion for me, not because of its leg­endary, oth­er­world­ly beau­ty or because I'd nev­er seen it or because I was look­ing for­ward to bum­ming beers off retirees in RVs, but BECAUSE I was hav­ing a new pair of shoes deliv­ered to the PO there. My feet, at that point, were thrashed. The trail can be unkind to feet in a vari­ety of ways — extreme heat in the south, fre­quent riv­er cross­ings and snow in the Sier­ras — and it doesn't help when you wear one pair of Asics Gel Tra­bu­co III's for the last two-thirds of the state of Cal­i­for­nia. I take a look at my PCT jour­nal a few times every sum­mer; the entry scanned above rep­re­sents some of the hap­pi­er times on the trail. A lit­tle ear­li­er in my hike, the heat and drudgery of North­ern Cal­i­for­nia would have fig­ured more promi­nent­ly. The words "heat rash" would have appeared, and I also would have men­tioned the fact that my girl­friend was break­ing up with me. Lat­er in the hike, my hik­ing part­ner, Nick Brown, broke his ankle and some reli­gious zealots crashed com­mer­cial air­planes into Amer­i­can land­marks. Read­ing over it now, August 12, 2001 rep­re­sents a dis­tant lit­tle peri­od of seren­i­ty and calm. My days were pret­ty sim­ple: How far should I hike today? Where will I get water? Should I stop and take a swim while I'm there? When should I eat my next snack? Should I take this alter­nate route? Should I stop ear­ly? Should I night-hike? Where will I get my next cheese­burg­er? It amazes me that it ever could be so easy … The pic­ture below was tak­en a few days before.

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flickr urban visual

Alone in Houston

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I put some new pho­tos on my Flickr page recent­ly. This one is from a recent trip to Hous­ton. I took it while dri­ving around (I believe it's called) The Belt­way. The pho­to makes Hous­ton seem emp­ty, which, as I recall, is like the oppo­site of what it is. Espe­cial­ly the free­ways. I don't recall more than a few moments when I wasn't sit­ting in traf­fic. Which makes me won­der: Did I real­ly take this pic­ture? How did it get into my phone?

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flickr minneapolis tip

Things to do in Minneapolis when you're cold

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The Twin Cities are still full of good times, espe­cial­ly when the mer­cury plunges. A cou­ple of week­ends ago, I enjoyed the chill with my friends Fish, Katie and Becky (pic­tured, in front of the new wing at the Walk­er). The highlights: 

  • Viet­namese sand­wich­es at the Jas­mine Deli on Nicol­let. Their sand­wich­es are fab­u­lous, espe­cial­ly the BBQ chicken.
  • The new and improved Walk­er. Twin Cities res­i­dents seem ambiva­lent — some love it, oth­ers are under­whelmed — but I was real­ly impressed with the way that the new wing blends into the old, and the man­ner in which they space itself still seems inti­mate and sur­pris­ing. Plus, it's open late on Fri­day nights; how great is that? The Walker's video instal­la­tions have always been great, and I was real­ly glad to catch a few moments of Jem Cohen's "Lost Book Found" and "Blood Orange Sky" as we walked through — worth read­ing: A long, detailed inter­view with Jem Cohen by Rhys Gra­ham. Also, an entire room ded­i­cat­ed to Sher­rie Levine, a cab­i­net full of Fluxus stuff (still cool after all these years of imi­ta­tors), and a great exhib­it of Huang Yong Ping that includ­ed some live spi­ders and scorpions.
  • Good, sol­id Mid­west­ern dish­es pre­pared Chez Panisse-style (local, organ­ic, a lit­tle French) at Auri­ga. They also serve Kona coffee.
  • Weird Nor­weigan snacks and crazy folk-art murals at Inge­bret­sons, a store that sells all sorts of Scan­dana­vian crafts and gifts. Even weird­er because it's in a some­what bombed-out part of Lake Street.
  • A lit­tle water­fall in the mid­dle of the city, Min­neha­ha Falls. Total­ly worth see­ing, espe­cial­ly in winter.
  • Fish and Katie's total­ly awe­some 60's‑style neigh­bor­hood movie the­ater, The Riverview, that shows fair­ly new movies for THREE DOLLARS. Are you kid­ding me? Plus, it has been total­ly restored, and total­ly reminds me of the hey­day of Kansas City's Glen­wood, which I think has recent­ly been gut­ted of all the 60's schmaltz.
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flickr inside art street art visual

Art / LACMA garage RIP

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Soon, the garage out­side the LA Coun­ty Muse­um of Art is get­ting torn down to make way for some big new build­ing. Unfor­tu­nate­ly, it's got some real­ly excel­lent murals by Bar­ry McGee and Mar­garet Kil­gallen that I checked out when I was there a cou­ple of sum­mers ago.The LA Week­ly says:

Now's the time to check out the cel­e­bra­tion of street art it has become since Octo­ber 2000, when hus­band and wife team Bar­ry McGee and Mar­garet Kil­gallen were com­mis­sioned to bomb the sec­ond floor of the struc­ture in com­mem­o­ra­tion of the show "Made in California."Over the last five years, Kilgallen's smok­ing, trudg­ing, scowl­ing women and McGee's sig­na­ture sad-sack faces and metic­u­lous­ly drawn mes­sages have inspired unco­erced homages from sev­er­al local­ly and inter­na­tion­al­ly known artists: N.Y.-based graf­fi­ti trio FAILE's col­lage sten­cils; Span­ish tag­ger PEZ's bub­bly alien fig­ures, and Obey Giant guru Shep­ard Fairey's loom­ing wheat-paste policeman.

It wouldn't be as sad if Mar­garet K. was still around to bomb anoth­er garage, but the fact that she's not makes the dis­ap­pear­ance of this free and pub­lic place even hard­er to take. Sucks.The whole sto­ry: "Oil on Con­crete".UPDATE: An excel­lent cri­tique of LACMA's deci­sion to tear down the garage, writ­ten by art crit­ic and blog­ger Tyler Green.

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flickr inside art san francisco visual

Art / Muhammad Ali likes soul food

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One of my favorite neigh­bor­hood art spots is called Cre­ativ­i­ty Explored, "a non­prof­it visu­al arts cen­ter where artists with devel­op­men­tal dis­abil­i­ties cre­ate, exhib­it, and sell art." Or so it says on its web­site.At first, I felt con­flict­ed about Cre­ativ­i­ty Explored. Much of the art is geni­une­ly impres­sive, and a few of the artists are quite tal­ent­ed and pro­duce tru­ly beau­ti­ful work. But the great­ness is com­pli­cat­ed by the artists' dis­abil­i­ties. So many works seem tru­ly unique, yet you can't shake the feel­ing that you're admir­ing the prod­uct of the very thing that pre­vents the artist from liv­ing a "nor­mal" life.The fact is that I real­ly like a lot of it, espe­cial­ly the handwriting/drawings of John Patrick McKen­zie. John's hand­writ­ing is bold and jaun­ty in a way that, at first, makes it look like a cross between graf­fi­ti and first-grade. But then beyond the ini­tial impres­sion, it becomes clear that the page is often orga­nized very pre­cise­ly. As he tends to col­or in the enclosed areas of each let­ter — the inte­ri­or of an R, D, P, etc — the page takes on a heav­ier graph­ic dimension.Content-wise, each work of John's works is the­mat­ic, though "the­mat­ic" may be too fan­cy a term for it. Each con­tains a set of words or phras­es that is shuf­fled in a vari­ety of ways through­out the work, though some oth­ers just con­tain seem­ing­ly ran­dom indi­vid­ual words writ­ten again and again. Humor (prob­a­bly unin­ten­tion­al) often aris­es from his selec­tion of the names of stars of the 60's and 70's in his work, as well as fel­low Cre­ativ­i­ty Explored artists.Generally, he'll pick a sub­ject — for instance, the 1964 Chevy Impala — and he'll write a series of state­ments about how cer­tain peo­ple feel about the sub­ject. "Bruce Lee likes the 1964 Chevy Impala. Doris Toku­da likes the 1964 Chevy Impala," etc. The work above has a slight­ly dif­fer­ent arrange­ment: "Sylvester Stal­lone likes Chef Boyardee … Muham­mad Ali likes soul food."Sometimes, the sub­ject of the work veers away from the lit­er­al. John has devel­oped a sort of code for refer­ring to all sorts of sub­jects, so you'll see phras­es like "red­neck piz­za sher­iff," "spring chick­en," "cold turkey," "avo­ca­do ice cream," and many oth­ers used in strange con­texts. Some­times they're code, some­times they're just what they are. Some­one once told me that "avo­ca­do ice cream" is code, but recent­ly a teacher at CE the­o­rized that John had recent­ly eat­en at Mitchell's.Like much out­sider art, John's work is exot­ic — the and it's hard to admire and dis­cuss it with­out fetishiz­ing the con­di­tion that con­tributes to it. But you could also say that John's work makes this less of an issue because it is so visu­al­ly appeal­ing, and often so poetic.The SF Week­ly wrote an arti­cle about John in 2002: "Osama bin Laden dis­likes kel­log­gs frost­ed mini wheats"

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flickr mobile san francisco visual

Photos / Underwater buildings

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Some­times, the crap­py lens on my Motoro­la v220 pro­duces inter­est­ing effects. Recent­ly, it has start­ed com­press­ing the depth of field, and at the same time, arbi­trar­i­ly fuzzing out objects. When direct­ed at build­ings in full late-after­noon light, it actu­al­ly makes things look like they're in an aquarium.