Sunday Snippet – Rufus Amalgam Loved his Bluetooth, Part 2

Time for another silly bit of throw-away fiction. A week ago I put up part one of Rufus Amalgam Loved his Bluetooth based on a character idea from Peggy’s Blog. If you haven’t read Part One, go read it here first. Here is Part 2.

“Rufus!” Sandy was so loud in his Bluetooth headset that Rufus had to pull it out of his ear and hold it out or he would be deafened. Sandy’s voice sounded tinny and distant like that, which suited Rufus just fine.

“Damn it Rufus! You need to get your ass down here and take care of that Sylvester dude. He’s in my apartment and he won’t leave.”

“And this is my problem, why?”

“It’s your problem because you set the whole thing up. Now you get down here right now and help me throw the guy out or I’m gonna start making some calls. And you won’t like who I call or what I am going to say.”

“Ok, Ok, calm down. Now, you said that the Radio guy is in your apartment? Where exactly is he? What’s he doing?”

“He’s on my couch. Asleep. Has been since this afternoon. I can’t get him to budge.”

“Ok, Ok, Sandy. Don’t get your panties in a wad. I’ll be right down. Won’t be any big deal.”

Rufus stood up and walked out of the Starbucks, glaring at the table of women that had been eyeing him all night. As the front door closed, he thought he could hear a smattering of applause filtering out through the narrowing crack of the glass door. “You all can go to Hell!” Rufus yelled back at the coffee shop as he walked quickly to his primer-colored Ford Taurus.

He headed directly for the car door, his eyes focused on the latch. Rufus didn’t like to look at the long, winding rusty dent that buckled along the entire driver’s side. He knew there was a shorter, but deeper puncture wound on the passenger’s. The trunk was held down with a piece of wire, and there was even a wide dent on the bottom of the car where he had driven up over a parking barricade in a drunken stupor.

Reaching the door, he didn’t need a key, the lock had been drilled out months ago. The ignition cylinder spun freely and with a turn and a few seconds of sputtering and coughing, the engine came to life, idling roughly.

The yellow “low gas” light stared him in the face, mirroring the “Check Engine” symbol on the other side of the dash. He did some mental calculations and decided he could make it to Sandy’s place, though he’d be on fumes once he arrived there.

He was glad that Sandy needed his help and as he started out down the road, began to plan his angle. He needed somewhere to stay and he thought he remembered Sandy’s place as having a good, working, air conditioner. That Sylvester Radio guy was a skinny little runt and he’d have no problem rousting him out the door. If he did it in an assertive, manly way, then Sandy was sure to show some appreciation.

Maybe he could get a little more out of the deal than just a place to crash. Rufus started to imagine Sandy’s face full of gratitude, her eyelashes batting. The fantasy became more and more involved, more and more pleasant, a nice warm spot in his mind and gut, until he sprinted up the two flights of stairs to Sandy’s apartment and rapped confidently on the door.

Rufus’s fantasy left immediately when Sandy opened the front door. She stood there, her dirty blonde hair sticking in all directions, her face smeared with mascara, and wearing old torn cutoff blue jean shorts, a dirty T-shirt, and mismatched Crocs on her feet.

“I am so glad you are here,” Sandy said “he’s not moving at all.”

“Well, don’t you worry your…  little head over this bum. I’ll just pitch him out and then we’ll talk.”

Rufus strode to the couch where he saw Sylvester’s head sticking out from under a ratty quilt. He bent over and gave the quilt a yank. It came up quickly – flying into the air.

“Okay Radio! It is time to.. Oh geez! Damn it Sandy! The guy is naked.”

Rufus had to reach in the air to grab the quilt and push it down back over Sylvester Radio as quickly as he could. The image of those skinny hairless limbs and sunken chest would not leave his mind even after he shook his head violently.

“Why didn’t you tell me he was naked!”

“Sorry, I forgot.”

“You forgot? I don’t even want to think about…”

He didn’t want to finish the sentence. It was best to get things going fast, so Rufus leaned over and grabbed Sylvester’s shoulder and started shaking as hard as he could. At the same time he started yelling to wake the dude up. Rufus wanted to get him out as soon as possible.

“Oh Christ Sandy, he’s stiff as a board.”

“What are you talking about?”

“I think the guy is dead!” Rufus jumped back in disgust as quickly as he could. He stood in the middle of the living room shaking and staring at the quilt with the tuft of wild dark hair sticking out of one end and a pair of grubby feet with overgrown, yellow toenails out the other.

“Are you sure?”

“Yes I’m sure. He’s as stiff as a board… as dead as a doorknob. What did you do to him?”

Sandy said nothing. She simply stared at Rufus and he was horrified when he thought he saw a small grin flash across her face for a second.

“Where’s your phone? We need to call the cops.”

“Oh no,” Sandy said. “No cops. No cops! I’m on probation you know. This will send me back to the big house for sure. And I’m telling you I’m not going back there because you sent me some scrawny pervert with a weak heart.”

“Well then what do you suppose we’re going to do?”

So Sandy told him what they were going to do. It bothered Rufus when she came up with a plan so quickly. He suddenly had the thought that Sandy might have known Radio’s condition before she even called him at the Starbucks. He even wondered when that quilt had been placed over the corpse. The first step, Sandy told him, was to wedge the dead guy off the couch onto the floor while keeping him wrapped up in the blanket.

Rufus looked around for something to use; he did not want to touch the body. All he could find was a toilet plunger leaning against the end of the couch. He didn’t even want to think why it was there. He grabbed the wooden handle and used it to wrench the corpse off the couch. Thankfully, it landed in the quilt, and the blanket settled draped all around it. He took two corners and Sandy took two and after checking the front stairs they dragged the body out the door and down the two flights as quickly as they could. Luckily no curious bystanders showed up.

“Okay, where’s your car,” Sandy said.

“My car? Tanks dry as a bone, coasted here on fumes. We’ll have to use yours.”

Sandy shook her head in disgust and clumped around the corner. Rufus heard the whine of a small engine and a tiny Smart car appeared.

“What is that? Is that a toy? How are we going to fit in there with him?”

“You should have thought about that before you came here with no gas.”

“I know. I have an idea. I’ll wait here and you can drive with him in the passenger seat.”

“No way! I am not going to do this alone. You sit in the passenger seat and hold him on your lap.”

And that was how they drove. Sylvester Radio’s head was covered with the blanket and sticking out the passenger window at an angle. His corpse was too stiff to sit down and Rufus held the body with his eyes scrunched shut. They drove to a spot Sarah knew about where a rough gravel road crossed an old railroad spur and dipped down into a thick grove of scrubby trees.

“I don’t even want to think about why you know about this spot,” Rufus said.

“It is lucky that I do.”

They opened the door and slid the body on the quilt down to a thick weedy patch and pulled the blanket while the body rolled away into the darkness.

“I don’t know,” Rufus said “it doesn’t seem right to leave him like that. Should we cover him?”

“That’s my quilt. I’m not going to leave it here for the police to find. God knows what kind of DNA is in there. Don’t worry. They’ll think he’s just some dead naked junkie. He’ll never be missed.”

As they were driving away Sarah asked Rufus to open the glove box. Inside was a wallet and keys. Rufus instinctively checked the wallet.

“There’s no cash, no credit cards. I’ve already pulled them,” Sarah said. “I want you to check his driver’s license and give me the address.”

“What for?”

“We’re going to his place. Those are his keys. I want to see what’s there, I want to look…”

“Come on Sarah, we are not burglars”

“You can’t be a burglar to a dead man.”

Rufus recognized the address, he had been there before. It was a small brick duplex not far from the University. They parked a half block away and walked along the darkened sidewalk. As they approached the door with Sarah holding the keys they jumped as a voice called out from the darkness of the next door entryway.

“Are you two friends of Sylvester’s?”

“Uhhh,” the same confused sound came out of both their throats as they started to slink away from the unexpected interruption.

A spindly old woman suddenly moved from the darkness into the blue light from an overhead street lamp.

“It’s good to see that Sylvester has some friends, some young friends.”

“Yes,” Sarah said, thinking quickly, “we are Sylvester’s friends, we’re here to check on him.”

“Good,” the old woman said, “Sylvester needs someone to check on him, especially with his, well, you know, his disease and all.”

“Disease?” Both Sarah and Rufus spoke at the same time.

“Yes, don’t you know? That’s why I stayed up waiting for him. He has this nervous disorder. When he gets too excited. His whole nervous system – his brain and spine – his muscles – they freeze up stiff as a board. Catatonic. You would swear he was dead. Sometimes he won’t wake up for hours. Scares me to death to think that something bad might happen to him. You don’t think… Has something bad…?”

Rufus and Sarah stared at each other.

“No, no,” Sarah said “nothing bad… but, you know, we had better be going.”

“Yes yes,” Rufus replied, “we had better be going right now.”

Dr. Noodle

Dr. Noodle by chancew1
Dr. Noodle, a photo by chancew1 on Flickr.

A collage from my Moleskine Sketchbook. From three years ago – I must have been hungry that day.

Dallas Arts District Architecture Tour

The guide for our walking tour in the Dallas Arts District, standing at the end of the barrel vault at the Dallas Museum of Art, gestured toward the towering spire of Postmodern granite, the Trammell Crow Building, and said, “in the eighties there was a building boom in downtown Dallas.”

That simple sentence brought the memories tumbling out of the cowbwebby recesses of my creaking old head. At that time, I was working at the old Cotton Exchange building, only a few blocks away, and I would look out of my office window every day and watch the progress of the Trammell Crow tower as it rose out the enormous hole where a cracked parking lot used to be. It went up fast, it grew like a weed. I was young then, I still gave a shit, and was fascinated with the construction techniques – pouring the concrete floors and support columns, the utilities, the dark glass, and the polished granite cladding. I did not know what it would look like when finished and watching it grow was like a slow-motion puzzle being solved right in front of me. The building was assembled inside-out and looking at it now, almost thirty years later, I still know its innermost secrets.

Trammell Crow Center and the Winspear Sunscreen

The Winspear Opera House is surrounded by a massive sixty foot high sunscreen made of aluminum louvers.It is amazing how much cooler the killer Texas heat is under this high-tech shade. The picture shows a small section of the slats with the tip of the Trammell Crow Center beyond.

The Dallas Museum of Art was also built while I worked down there. Admission was free when it was new and I would walk over there almost every day at lunch and pick out one single painting or sculpture and stare at it until I felt that I possessed it completely.

Yesterday, I checked the Friday Newspaper (online, of course) to see if there was anything interesting to do over the weekend and I found a notice about a walking tour of the architecture of the Dallas Arts District at ten AM on Saturday. That sounded like a plan.

A pole-sitting sculpture in front of a new Condo Tower going up.

A pole-sitting sculpture in front of a new Condo Tower going up.

It was interesting… and although I’m pretty familiar with the Arts District, I did learn a few things.

At the turn of the century or so (1899, not Y2K) Ross Avenue was the street where all the wealthy scions of Dallas built their mansions. The only one remaining, The Belo Mansion was purchased and rebuilt by the Dallas Bar Association. Prior to that, for many years it was leased to a funeral parlor. In 1934, Clyde Barrow’s bullet-ridden corpse was displayed and attracted a crowd of thirty thousand macabre curious onlookers.

I was a little disappointed that the wonderful European sculpture was gone from the walk around the base Trammell Crow Building. Our guide said it had been moved to the Old Parkland Campus and that it would soon be replaced by a garden of Asian sculpture. That will be cool.

Of course, it’s common knowledge that the district features public buildings designed by four Pritzker Prize winning architects – I.M. Pei and the Morton Meyerson Symphony Center, Renzo Piano and the Nasher Sculpture Center, Norman Foster and the Winspear Opera House, and Rem Koolhaas and the Wyly Theater. At the east end of Flora street is the City Performance Hall (under construction) and the One Arts Plaza mixed-use development. It’s a bit sterile sown there on the east, but there is still a lot of construction.

Guadalupe Cathedral

The Bell Tower of the Guadalupe Cathedral framed by skyscrapers. Taken next to the construction site of the new City Performance Hall.

We ended the tour there on the east end of Flora. I walked back taking some pictures. The Nasher was open for free, and I couldn’t resist a visit. The Trammel Crow Collection of Asian Art across the street is often overlooked – but it is always free and although it is small, there is always something wonderful to be found there. This time it was the art of Tenzin Norbu and Penba Wandu – they combine ancient techniques with a modern spin – the results are stunning. Norbu‘s painting, “Story of the Northern Plain” was the most beautiful thing I’ve seen in a long time.

The tour was fun. I guess they do these every now and then, if you find yourself in the Big D, I highly recommend it.

Aluminum Tube Skin on the Wyly Theater

Aluminum Tube Skin on the Wyly Theater

Calder, Rodin, and Yoga

Eve, by Auguste Rodin, Three Bollards, by Alexandre Calder, and a yoga class.

Worshipping a New God.

Worshipping a New God.

Headless Construction

Headless Construction. Magdalena Abakanowicz, Bronze Crowd, and the Condo Tower being built next door.

Balloon Room

At the Nasher, they had a room full of balloons. It was an installation by British Artist Martin Creed. Children were queued up for a chance to get inside.

Inside the Nasher’s Balloon Room

Kids Splash in front of the Wyly Theater

Kids spash Wyly Theater by chancew1
Kids spash Wyly Theater, a photo by chancew1 on Flickr.

My favorite bit of architecture that has risen during the orgy of recent construction in the Dallas Arts District is the Dee and Charles Wyly Theater. Designed by OMA architect Rem Koolhaus and REX, the building doesn’t look like a theater, it looks like a Borg Cube.

I took this HDR photograph of children playing in the shallow reflecting pool that connects the Wyly Theater with the Winspear Opera House.

I Make the Switch (danger, geekiness ahead)

I have this image in my mind. There are the two guys, the cool, young, hip Mac guy and the old, chubby loser PC Geek.

The PC Guy and the Mac Guy

The PC Guy and the Mac Guy

They argue for a while then stand there, hand in hand, then… Have you ever seen Bambi Meets Godzilla? Watch it. I love the chord at the end.

That’s what I see in my mind, the big Godzilla foot crushes the two guys, the Mac guy and the PC guy. But Godzilla’s foot says, “Linux” on it.

PC and Mac guy meet Linux Godzilla

PC and Mac guy meet Linux Godzilla

The first time I ever gave Linux a shot was… I don’t know, a long time ago – an eon ago in computer time. These were the days when you still logged on to the Internet through a dial-up connection to America Online (I miss the tones of the dial connection and modem negotiation, the comforting hiss of the data stream starting, coming out of the tinny little speaker). I found a boxed copy of SUSE Linux at a thrift store in Mesquite, Texas. The box had a stack of 3.5 inch floppy disks and a thick, confusing manual. It was on the miscellaneous shelf between the used dishes and the mismatched shoes. It cost one dollar.

It might have been version 4.2, I don’t remember. That was the first version and should have been version 1.1, but they wanted to give it the number of Life, the Universe, and Everything. That sense of nerd humor is one of the nice things to permeate the Linux community.

That old SUSE distribution never ran very well – I think I installed it on a very crappy old 386SX, or something like that. But it gave me a taste and I thought it was cool enough to stay interested and I could definitely get the feeling for the possibilities to come.

So a few years later, I built a custom box and decided to put Linux on it. After shopping distributions and trying a few different ones out, I settled on Fedora Core 6. I was ecstatic.

My home computing setup was to have two boxes under my desk. One ran Fedora and the other Windows. I could switch between them with a KVM switch, which worked pretty well. I even built a switch box so I could play music on one computer and work on the other.

But as time went by, I pretty much stopped using Windows altogether. One by one, the dominoes fell and the Linux Open Source versions of applications became superior to the Windows Junk (plus they were free) and I only used Window for ITunes (to keep my Touch loaded).

I would upgrade my Fedora, usually every other upgrade, on through Fedora 13. Especially, once the Live CD spins became common, I would play around with other distributions. I found some of the smaller, lighter distros extremely helpful in fixing or rescuing other people’s crapped out Windows stuff. I built a server (now undergoing rebuilding) for music, file backup, and web hosting and put Ubuntu on it because the current Fedora choked on its odd video setup.

Over the years I switched from the desktop setup to a Toshiba Laptop running Fedora and Windows in a dual-boot configuration. Still, I rarely booted to Windows – only for Itunes, Adobe Illustrator (I use The Gimp instead of Photoshop, but still haven’t come around to Inkscape over Illustrator) and Dragon Naturally Speaking. Oh, and streaming Netflix – It drives me nuts I can’t do that on Linux.

The other day I cleaned up the laptop, reinstalled Windows (No matter how careful you are, that piece of crap still will eventually get larded up with malware and have to be redone) and moved up to Fedora 15.

And it crapped out. I tried and tried and could not get the newest bleeding edge Fedora distribution to work on my Toshiba. Up until then it had loaded and run without a hitch, but it kept freezing up at unpredictable times. I played around with video drivers and such, but realized I didn’t have time for this crap.

So I installed Ubuntu 11.04, Natty Narwhal. Not a hitch.

So now I’ve switched. I’m still of two minds about Unity, the new Ubuntu desktop, but It’s starting to grow on me.

I’ve never been a great proponent of brand loyalty, but in some ways, by switching Linux distributions, I feel like I’ve abandoned an old friend. Out with the old, in with the new.

Now I’m an Ubuntu freak. Yee-haw.

Waiting For the Train

waiting_for_the_train by chancew1
waiting_for_the_train, a photo by chancew1 on Flickr.

When you’re stuck in Downtown Dallas, waiting for your train, there’s nothing better to pass the time than to pull out your old guitar and strum a few bars.

This is The Travelling Man  – I have a few more HDR pictures I took of him, I’ll stick them up now and again.

Kick-Ass and Gregor Samsa

The other evening I finally found time to watch the 2010 movie Kick-Ass on Netflix streaming.

I’m not going to write a review of it, though I did enjoy the film. It’s the kind of thing you will like if you like that kind of thing.


I’d like to talk about a bit of the film, a single scene, and why it’s there.

This all has to do with believability – with generating the proper suspension of belief in the viewer. It’s a real problem for a writer. If he’s writing about vampires, or magic, or little prepubescent girls who massacre criminal goons like the rest of us swat flies; you have to find a way to get the reader/viewer to buy in to your own little personal fantasy.

An example – many, many years ago I took a (useless) fiction writing class in college. I wrote a character sketch modeled on a person that I knew well. The other members of the class rejected (rightfully so) my work because it, “wasn’t believable.” I objected to their rejection, explaining, “But.. but it has to be believable, it’s true!”

I didn’t understand the difference between believability and truth (the class was useless because it didn’t explain this to me, I had to figure it out myself a decade or so later). That’s the big advantage non-fiction has over fiction – non-fiction simply has to be true… it doesn’t have to be believable. Fiction, on the other hand, is always a pack of lies, but it has to be believable lies. That is much more difficult than simply telling the truth.

The key to believability is to make a deal with the reader right up front. If you tell your audience immediately, at the very beginning, then they will willingly suspend their disbelief and go along with you. They will gladly accept all the blood-drinking, invisibility spells, and jet-packs with Gatling guns, even though they know it is impossible in the real world, as long as you have told them this is what you are going to do. Be honest, be upfront, and they will gladly go along for the ride.

The best example of this?… easy, Gregor Samsa. You know, Kafka, The Metamorphosis, one of the greatest opening lines in all of literature.

As Gregor Samsa awoke one morning from a night of uneasy dreams he found himself transformed in his bed into a gigantic insect.”

There it is. The only question is what kind of insect. Some translations use “Cockroach,” but if you read the rest of the story carefully it is obvious that he is not a cockroach, but something like a round dung-beetle, about the size of a large dog….

But I digress…

It is, of course, thankfully impossible to have some bad dreams and wake up squirming in your bed, late for work, and wondering where those extra legs and that jointed carapace has come from. But yet, that doesn’t take away from the emotional impact of poor Gregor and his hopeless predicament. We read on without any question and with nary a concern that the story never explains how this has happened (Was he bitten by a radioactive dung beetle? A Slytherin curse gone horribly wrong?).

The answer is that Kafka has made a deal with us in the first sentence. He has stated the rules (Gregor Samsa, giant vermin, no explanation, hang on) and we accept them or stop reading right there with no harm done.

 It is critical that this is done right away. In the course of the story we learn a lot about Gregor’s life before his transformation. Kafka could have written the story with a handful of pages illustrating Gregor’s gray existence, pre-vermin, and then sprung the change on, say, a third of the way through.

That would suck. We would hate it. We would think that the author made a cheap turn and changed the story from a drab description of hopelessness to a supernatural tale of witchcraft or something. He would have to explain why that had happened or we would throw apples and then toss the tome in the garbage.  But since Kafka knew to strike his bargain while the iron is hot, a classic is born.

Gregor Samsa

Well, what the hell does all this have to do with Kick-Ass?

The movie does the same thing.

When you read reactions to the movie, surprisingly, the biggest complaint isn’t the murderous little girl, the buckets of blood, or the feel-good ending. People complain that the movie made a right turn partway through. They gripe it starts out as a typical light teenage angst comedy, with a nerd struggling to be more than he has been, trying to get the hot girl, doing stupid stuff. After a bit of this it changes completely into… what it changes into.

These people weren’t paying attention.

Like Kafka, the screenwriter(s) told everybody, right at the beginning, exactly what was going to happen. They made a bargain with us (if we saw it) and that’s why the subsequent activities, while shocking, shouldn’t come as a complete surprise – they fit neatly into the bargain that is struck, we were warned.

Remember the first scene? Maybe you don’t. It’s an interesting bit. It has nothing to do with the rest of the movie. The single character is never mentioned again. I think the action takes place after the rest of the story has run its course and has no relationship with anything else that happens.

The Credit Clouds part – a man wearing a superhero outfit stands at a corner protrusion of a high office building. Far below, bystanders watch as he spreads bright red wings and then fearlessly pitches forward, head first, winged arms outstretched, plummeting toward the sidewalk at increasing speed. The heroic music swells as the crowd of onlookers smiles, cheers, and claps as the hero moves faster and faster.

Then, with a loud thump, he crashed into a Taxi, crushing it, and killing himself instantly. The real hero, in voiceover, explains that this is a person with a mental problem and has nothing to do with the rest of the story.

Watch it here.

And there it is. The movie will be an exploration of everyman’s fascination with the Superhero myth, and how, when put to the test, the hero will be found wanting, with horrible and inevitable death the only possible result.

The entire movie in a nutshell. The violence. The sick humor. The theme of innocence lost in the face of a monstrous and dangerous world filled with evil.

Pay attention. You were warned.

Pitbull in the road

I am in the final stages of finishing my book of short stories that I want to publish on the Kindle, and am struggling with the illustrations for the book. I want to put some in simply to add interest but I don’t know how many. For one thing they add size to the file, and that takes up more room on Amazon’s servers and on the reader’s Kindle. Mostly, however, I simply am not a graphic artist and don’t feel qualified to produce story illustrations.

I’m looking for photographs that I can manipulate and stick in the book. I needed one of a unique looking gas station, and set out early in the morning on a photographic quest. I wanted to take some pictures at Fair Park of the Art Deco sculptures and murals  and on the way drove around the neighborhood looking for a gas station.

If you are not familiar with the Dallas area let’s simply say that the neighborhoods around Fair Park are not the most affluent in the city. You would not want to wander around there late at night. Early in the morning, however, they are pleasant enough. Driving down one of the major thoroughfares, I drove past the exact gas station I was looking for and made a right turn into the neighborhood to loop around and find a spot to get a picture.

The streets were very quiet and narrow, the small garishly painted wood frame houses set back in the shade of a forest of mature trees. Their windows and doors were all covered with a mesh of iron bars . As I turned onto a narrow side street that led back to the thoroughfare right across from the gas station I saw the road was blocked by the body of a pit bull stretched out dead in the middle of the road. He must’ve been hit by a car in the middle of the night. I was glad that Candy was not with me; it would have upset her a lot.

Pitbull in the street

The road was so narrow I had to steer to the curb on the left side to avoid the dog. Driving slowly, I maneuvered around the corpse and turned into a parking lot, pulled my camera out and began to shoot the gas station. After each shot I couldn’t help but glance over at the pit bull and noticed that at least he didn’t seem to be torn up or bleeding or anything like that.

After my last picture I turned, looked, and jumped. The pitbull was sitting up and looking at me. The dog had been sleeping in the middle of the road. As I looked closer I noticed two more smaller pitbulls snoozing in the weeds nearby. For Dallas, it was a cool and crisp morning and I suppose the dog had picked the warmest spot he could find. He didn’t even budge when I drove around him in my car.

The pitbull is awake

After staring at me for a second he stretched back out and went back to sleep. I drove on to Fair Park and took some more pictures. I was glad he was not hurt, and amazed at his bravery and resolute attitude. I guess a pitbull feels he owns the neighborhood – damn the cars.

What’s odd is, if you’ve read my stories, you know how close this all is to something I’ve written. If you haven’t… wait a month, spend 99 cents, and buy the book when it comes out.

Pond at Fair Park

A pond in Fair Park. The red paths are part of a massive sculpture by Patricia Johanson - I have always loved those red paths running through the water, weeds, and turtles. A neglected jewel in the city.

The Countertenor

One of the many fantastic Art Deco art works in Fair Park - the recently restored Countertenor.

A sketch on a 3×5 card

Hey, little girlie in the blue jeans so tight
Drivin’ alone through the Wisconsin night
You’re my last love baby you’re my last chance
Don’t let ’em take me to the Cadillac Ranch

—Bruce Springsteen

I’m cleaning out my office room today and in a jacket pocket I found a little sketch I had done in watercolor pencil on a 3×5 index card.

Cadillac Rancy

A crude little sketch I did in watercolor pencil at the Cadillac Ranch west of Amarillo.

Not much doubt where this was done.

This place always looks cool  – even in Googlemaps.

Some messed-with photographs I took the last time I went by there:

Cadillac Ranch - Old Guys Rule

Old Guys Rule

There are a lot of differnt things painted on the cars. I like the little slogan. They do.
 
Cadillac Ranch

Cadillac Ranch

Laissez les bons temps rouler

We made our reservations for this fall in New Orleans for Tulane Parents weekend and for next year’s Carnival. We really liked out B&B on Saint Charles, the Mandevilla, and will be going back there. 2012 will be our third Mardi Gras in a row and I’m already looking forward to it.

Last Mardi Gras was pretty much off the hook. The only downside is we don’t get to see Lee as much as we’d like – he’s hanging too much with his friends to meet up with his parents.

A photographer shot him and had his picture go out over the AP wire and it showed up all over the web and in a few real newspapers. I guess it’s pretty cool to have your photograph gracing a blog that asks the question, “Are there any Mardi Gras Celebrations in North Idaho?.” It seems the answer is “Yes!” but I’ll stick to New Orleans for this year at least.

Here are some great Carnival photographs – Lee is about two thirds of the way down.

The downside to Mardi Gras in the Big Easy is that it is a logistical nightmare. I’m already thinking of strategies and resources to be able to get around… places to go, people to see, and things to do.

I do need to get over my bad habit of grabbing too many beads. I had a bit of a panic attack and almost strangled myself trying to get them off of my neck and over my head in an Italian Restaurant at two in the morning. They were so thick and tangled I was trapped. Candy told me, “Just cut them off!” – which was good advice but I couldn’t do it. They may have been cheap plastic beads made in China – but they were Mardi Gras beads, caught from a parade. I can’t cut them off.

Instead of beads, my favorite throw are the doubloons. These are cheap metal coins thrown from the parade floats. There are nice ones – collectors items, given to friends of the Krewes, but that’s not what I’m talking about. They are sometimes pretty hard to get, harder to catch than a string of beads, and the Krewes are a bit more stingy with the doubloons. I did learn one trick is to run up to the marshal, usually in a convertible at the head of the parade, and he’ll hand you a doubloon.

This year, Orpheus and Endymion ran back to back and we had a nice spot near the start of the parades, down on Napoleon Street, almost to Tchoupitoulas – right behind Tipatina’s. Some of the folks that lived there gave me a couple handful of doubloons, including some from previous years and other Krewes.

I’ve never been a collector of things, and I’ll never collect doubloons, but I like my growing pile of aluminium coins, they remind me of Mardi Gras. Here are a few:

Mardi Gras Doubloons

A few aluminum doubloons from Mardi Gras Parades. Krewes: Orpheus, Carrollton, Morpheus, Endymion, D’Etat, Iris, Elks,Tucks, Thoth

I saw on Ebay, on the web, that you can buy piles of doubloons, but that’s not the same. They have to come from a parade. There’s a real excitement… hard to explain – standing in that huge crowd, shoulder to shoulder with a million strangers, ears ringing from the roar of the bands and the crowd, everyone yelling at the massive gaudy floats, desiring these worthless trinkets that come flying through the air. The arc of the flight, the leap, the grab.

You feel like a little kid again.